Been looking at the noorio camera because I like the magnet and east set up no cords and being able to use with their solar panel. My only issue is that it is not a live feed and it needs wifi (from what I’ve read at least? Pls correct me if I’m wrong). I’m looking for one I can have outside on the property but it would be too far away from our wifi. I want to have a continuous stream of live footage. If u can think of any much appreciated. Thank you!

It's well worth a read, though I'm not sure exactly how well the late nineteenth-century anthropology holds up today. (Maybe somebody more knowledgeable than me can weigh in.)
The long and short of it: Engels examines how the structure of the family in a given society is contingent upon it economic and technological conditions, considered in terms of linear stages of development from "savagery" to "civilization." Group marriage, elective pair bonds, and matrilineality are typical of "primitive" societies, while ones that develop large-scale agriculture and specialized crafts tend towards patrilineality, driven by concerns over property rights:

We now leave America, the classic soil of the pairing family. No sign allows us to conclude that a higher form of family developed here, or that there was ever permanent monogamy anywhere in America prior to its discovery and conquest. But not so in the Old World.
Here the domestication of animals and the breeding of herds had developed a hitherto unsuspected source of wealth and created entirely new social relations. Up to the lower stage of barbarism, permanent wealth had consisted almost solely of house, clothing, crude ornaments and the tools for obtaining and preparing food – boat, weapons, and domestic utensils of the simplest kind. Food had to be won afresh day by day. Now, with their herds of horses, camels, asses, cattle, sheep, goats, and pigs, the advancing pastoral peoples—the Semites on the Euphrates and the Tigris, and the Aryans in the Indian country of the Five Streams (Punjab), in the Ganges region, and in the steppes then much more abundantly watered of the Oxus and the Jaxartes—had acquired property which only needed supervision and the rudest care to reproduce itself in steadily increasing quantities and to supply the most abundant food in the form of milk and meat. All former means of procuring food now receded into the background; hunting, formerly a necessity, now became a luxury.
But to whom did this new wealth belong? Originally to the gens, without a doubt. Private property in herds must have already started at an early period, however. It is difficult to say whether the author of the so-called first book of Moses regarded the patriarch Abraham as the owner of his herds in his own right as head of a family community or by right of his position as actual hereditary head of a gens. What is certain is that we must not think of him as a property owner in the modern sense of the word. And it is also certain that at the threshold of authentic history we already find the herds everywhere separately owned by heads of families, as are the artistic products of barbarism—metal implements, luxury articles and, finally, the human cattle—the slaves.
For now slavery had also been invented. To the barbarian of the lower stage, a slave was valueless. Hence the treatment of defeated enemies by the American Indians was quite different from that at a higher stage. The men were killed or adopted as brothers into the tribe of the victors; the women were taken as wives or otherwise adopted with their surviving children. At this stage human labor-power still does not produce any considerable surplus over and above its maintenance costs. That was no longer the case after the introduction of cattle-breeding, metalworking, weaving and, lastly, agriculture. just as the wives whom it had formerly been so easy to obtain had now acquired an exchange value and were bought, so also with the forces of labor, particularly since the herds had definitely become family possessions. The family did not multiply so rapidly as the cattle. More people were needed to look after them; for this purpose use could be made of the enemies captured in war, who could also be bred just as easily as the cattle themselves.
Once it had passed into the private possession of families and there rapidly begun to augment, this wealth dealt a severe blow to the society founded on pairing marriage and the matriarchal gens. Pairing marriage had brought a new element into the family. By the side of the natural mother of the child it placed its natural and attested father, with a better warrant of paternity, probably, than that of many a “father” today. According to the division of labor within the family at that time, it was the man’s part to obtain food and the instruments of labor necessary for the purpose. He therefore also owned the instruments of labor, and in the event of husband and wife separating, he took them with him, just as she retained her household goods. Therefore, according to the social custom of the time, the man was also the owner of the new source of subsistence, the cattle, and later of the new instruments of labor, the slaves. But according to the custom of the same society, his children could not inherit from him. For as regards inheritance, the position was as follows:
At first, according to mother-right—so long, therefore, as descent was reckoned only in the female line—and according to the original custom of inheritance within the gens, the gentile relatives inherited from a deceased fellow member of their gens. His property had to remain within the gens. His effects being insignificant, they probably always passed in practice to his nearest gentile relations—that is, to his blood relations on the mother's side. The children of the dead man, however, did not belong to his gens, but to that of their mother; it was from her that they inherited, at first conjointly with her other blood relations, later perhaps with rights of priority; they could not inherit from their father, because they did not belong to his gens, within which his property had to remain. When the owner of the herds died, therefore, his herds would go first to his brothers and sisters and to his sister’s children, or to the issue of his mother’s sisters. But his own children were disinherited.
Thus, on the one hand, in proportion as wealth increased, it made the man’s position in the family more important than the woman’s, and on the other hand created an impulse to exploit this strengthened position in order to overthrow, in favor of his children, the traditional order of inheritance. This, however, was impossible so long as descent was reckoned according to mother-right. Mother-right, therefore, had to be overthrown, and overthrown it was. This was by no means so difficult as it looks to us today. For this revolution—one of the most decisive ever experienced by humanity—could take place without disturbing a single one of the living members of a gens. All could remain as they were. A simple decree sufficed that in the future the offspring of the male members should remain within the gens, but that of the female should be excluded by being transferred to the gens of their father. The reckoning of descent in the female line and the matriarchal law of inheritance were thereby overthrown, and the male line of descent and the paternal law of inheritance were substituted for them. As to how and when this revolution took place among civilized peoples, we have no knowledge. It falls entirely within prehistoric times. But that it did take place is more than sufficiently proved by the abundant traces of mother-right which have been collected, particularly by Bachofen. How easily it is accomplished can be seen in a whole series of American Indian tribes, where it has only recently taken place and is still taking place under the influence, partly of increasing wealth and a changed mode of life (transference from forest to prairie), and partly of the moral pressure of civilization and missionaries. Of eight Missouri tribes, six observe the male line of descent and inheritance, two still observe the female. Among the Shawnees, Miamis and Delawares the custom has grown up of giving the children a gentile name of their father's gens in order to transfer them into it, thus enabling them to inherit from him. (...)
The overthrow of mother-right was the world historical defeat of the female sex. The man took command in the home also; the woman was degraded and reduced to servitude, she became the slave of his lust and a mere instrument for the production of children. This degraded position of the woman, especially conspicuous among the Greeks of the heroic and still more of the classical age, has gradually been palliated and glozed over, and sometimes clothed in a milder form; in no sense has it been abolished.

The short version of the conclusion: if the tangling up of property relations, economic brass tacks, reproduction, and romantic/sexual love has warped relations between the sexes, then the passage from capitalism into socialism and communism will allow men and women to stand on more equal footing. There's no point in smashing any patriarchy because there's no patriarchy to smash: just a period of historical development that needs to be brought to its conclusion and sublated by the next phase.

In any case, therefore, the position of men will be very much altered. But the position of women, of all women, also undergoes significant change. With the transfer of the means of production into common ownership, the single family ceases to be the economic unit of society. Private housekeeping is transformed into a social industry. The care and education of the children becomes a public affair; society looks after all children alike, whether they are legitimate or not. This removes all the anxiety about the “consequences,” which today is the most essential social—moral as well as economic—factor that prevents a girl from giving herself completely to the man she loves. Will not that suffice to bring about the gradual growth of unconstrained sexual intercourse and with it a more tolerant public opinion in regard to a maiden’s honor and a woman’s shame? And, finally, have we not seen that in the modern world monogamy and prostitution are indeed contradictions, but inseparable contradictions, poles of the same state of society? Can prostitution disappear without dragging monogamy with it into the abyss?

Again, short answer: yes. Engels maintains that the revolution won't deliver us all unto polyamory, but to happy and uncoerced monogamy:

Full freedom of marriage can therefore only be generally established when the abolition of capitalist production and of the property relations created by it has removed all the accompanying economic considerations which still exert such a powerful influence on the choice of a marriage partner. For then there is no other motive left except mutual inclination.

I wonder.
Been reading this lately. Thought I'd share some bits as conversation starters—and as a rebuff to the latest episode of "nobody duz Marxism no more."

Title is misleading I know. On May 29th's live stream they played For Honor 4v4 deathmatch. I was watching and wanted to hop on and play against them. I was successful and had fun, but feel guilty for stream sniping, I guess. Am I over thinking this?

I (m32) have recently quit my job to try a new career, streaming. My wife, (f30)Kate, was reluctant but agreed to give me a few months and live off of my savings (we have separate finances) before she’ll expect me to go back to work which I guess is fair enough. I’d prefer a year (but I don’t have enough savings) but she told me I should do it part time first instead of quitting my job and said she wouldn’t pay for me for the rest of e year which was highly disappointing. But it’s beyond the point.
My streams haven’t been going well so I’ve tried to come up with new content and the few viewers I have suggested pranks. I thought it was a great idea and they’ve given me things to say to my wife on live stream without her knowing.
As she didn’t know about this, people loved her reactions but she figured it out quickly and is pissed off that 1) I put her face online without her permission 2) made fun of her.
Shes called me some names and went to stay with her friend. She’s really mad. My BIL told me I fucked up but I don’t see how, she should be supportive of what I’m doing, shouldn’t she? But I love her so I need a second opinion. AITA? Because if I was I’ll have to apologize.
Edit: autocorrect killed my post. Ill edit it now

Hello, I want to hide the IP of my real server (111.222.333.444) behind another ip from another server (123.123.123.123) i will refer to them as vps1 (real server with nginx proxy manager) and vps2 (destination stream server) below.
After i changed ssh port to 2222 from 22 on vps2 and set port 2221 as incoming port in vps1 (which i've opend with ufw firewall) i tried to connect via ssh on vps1 with port 2221 (which should stream it to vps2 at port 2222)
For some reason, it give me Connection Refused error and i'm unsure how i'M supposed to solve that.
Would be nice if anyone could help me there.
Regards, Living_Discipline244

This post is part of a series looking at the massive amount of 'rhyming' (and occasionally rhyming) recursivity I believe exists between (a) the homecoming of Petyr Baelish to the Fingers and (b) the homecoming of Theon Greyjoy to Pyke.
While this series/post can be read simply as a study 'for its own sake' of the curious recursion between these storylines, it is my belief that the 'rhyming' explored here between the stories of Petyr and Theon exists (at least in part) to foreshadow that, like Theon, Petyr Littlefinger, is (among other things) a scion of ironborn kings, because Petyr is Hoare-ish: I.e. because Petyr's blood is (in some part) the blood of the ironborn kings of House Hoare of Orkmont and, later, Harrenhal.
You can find an index of every post I've made on the topic of a Hoare-ish Littlefinger [HERE].
Even if I'm wrong about Littlefinger's lineage, the 'rhyming' recursivity between the homecomings of Theon and Petyr detailed in this series remains, and certainly merits attention.
NOTE: In what follows, all uncited quotes are from ASOS Sansa VI, which describes Petyr's homecoming to his "Drearfort" tower of the 'Smallest Finger', or ACOK Theon I, which describes Theon's homecoming to "drear" Pyke.
As in past posts, I sometimes use "→" as shorthand for "prefigures" and/or "informs" and/or "is reworked by" and/or "finds a recursive 'rhyme' in".
As in: ACOK Theon I → ASOS Sansa VI.
This post picks up straight-away from where Part 7 left off. You can read Part 7 [HERE].
If you want to begin at the beginning, Part 1 is [HERE].

Smallfolk Who Do Not Know Them

What about the rest of what we read about Petyr's sight-seeing field trip with Sansa? What about that fact that most of Petyr's smallfolk do not "know him"? And what about that hermit? I submit that all of this—

Farther inland a dozen families lived in huts of piled stone beside a peat bog. "Mine own smallfolk," Petyr said, though only the oldest seemed to know him. There was a hermit's cave on his land as well, but no hermit. "He's dead now, but when I was a boy my father took me to see him. The man had not washed in forty years, so you can imagine how he smelled, but supposedly he had the gift of prophecy. He groped me a bit and said I would be a great man, and for that my father gave him a skin of wine." Petyr snorted. "I would have told him the same thing for half a cup."

—is a masterful kaleidoscopic reworking of several aspects of Theon's homecoming chapter. I'll explain.
As Theon approaches Lordsport, he thinks of a few faces he thinks he might find waiting for him, including one Sylas Sourmouth:

As the Myraham made her way landward, Theon paced the deck restlessly, scanning the shore. … [S]urely his father would have sent someone to meet him. Sylas Sourmouth the steward, Lord Botley, perhaps even Dagmer Cleftjaw. …

We'll see shortly that Sylas is a dead, smelly wino, just like Littlefinger's hermit.
When Theon makes landfall at Lordsport, none of the "smallfolk going about their small business" know him, nor does he know them:

[Theon] saw no familiar faces…
[The captain:] "I've brought your heir back to you."
The Lordsport men gazed on Theon with blank, bovine eyes, and he realized that they did not know who he was. It made him angry. He… strode down the gangplank. "Innkeeper," he barked, "I require a horse."
"As you say, m'lord," the man responded, without so much as a bow. … "Where would you be riding, m'lord?"
… The fool still did not know him. He should have worn his good doublet, with the kraken embroidered on the breast.

When he later enters Pyke castle, Theon again knows no one and no one 'seems to know him', so to speak, save the "old crone" who keeps the castle for Balon:

The gates stood open to him, the rusted iron portcullis drawn up. The guards atop the battlements watched with strangers' eyes as Theon Greyjoy came home at last.
A pair of gaunt children and some thralls stared at him with dull eyes, but there was no sign of his lord father, nor anyone else he recalled from boyhood. A bleak and bitter homecoming, he thought. …
A bentback old crone in a shapeless grey dress approached him warily. "M'lord, I am sent to show you to chambers."
"By whose bidding?"
"Your lord father, m'lord."
Theon pulled off his gloves. "So you do know who I am. …" … "And who are you?"
"Helya, who keeps this castle for your lord father."

So clearly the smallfolk of Pyke "did not know" Theon, whereas he is at least recognized by Helya, the "old crone" with a position in Balon's castle. It's easy to imagine "Prince" Theon bitching:

"Mine own smallfolk, yet only the old crone who keeps Pyke for my father seems to know me!"

That entirely true statement would, of course, neatly prefigure what's said about Petyr and his "own smallfolk" during his sight-seeing 'field trip' with Sansa:

"Mine own smallfolk," Petyr said, though only the oldest seemed to know him.

Note the recursive use of the term "know" there:

• Theon: "They did not know who he was"; "The fool still did not know him"; "So you do know who I am" → Petyr: "Only the oldest seemed to know him"

And note that we don't see Petyr having any more idea who any of his smallfolk are than Theon does who his are (or who Helya is): Yes, "the oldest seemed to know him", but as with Theon, there's no sign he knows them. (Maybe he does, in-world, but the text is silent.)

Recognition & Barnyard Eyes

Meanwhile, Theon being recognized by Helya — an (a) old crone and (b) Balon's castle-keeper — seems to be reworked when Petyr makes his landfall at the Drearfort, when he is verbatim "recognized" by all save the youngest of his castle household:

Servants emerged from the tower to meet them; a thin old woman and a fat middle-aged one, two ancient white-haired men, and a girl of two or three with a sty on one eye. When they recognized Lord Petyr they knelt on the rocks. "My household," he said. "I don't know the child."

GRRM's odd choice here to write, "When they recognized" him…" rather than e.g. "When they saw Lord Petyr…" or "When they realized it was Lord Petyr…" makes sense if we 'know' that GRRM is writing a 'rhyming' 'song': Theon was at least recognized by Helya, and this nods to that, even as the warm greeting and mutual recognition Petyr receives from and shares with his household is otherwise the yin to Theon's yang.
Note that Petyr doesn't know (and isn't known by) "the child… with a sty on one eye". This conflates and reworks (a) Theon being unrecognized by the "gaunt" — i.e. decidedly un-pig-like (see: "sty" as in pigsty) — children of castle Pyke, whose eyes are flawed in their own way—

A pair of gaunt children… stared at him with dull eyes…

—and (b) the "blank, bovine eyes" of the Lordsport men who "did not know who [Theon] was":

The Lordsport men gazed on Theon with blank, bovine eyes, and he realized that they did not know who he was.

This seems intentional: Eye styes can be spelled "sty" in the singular, as GRRM does here, but "stye" is preferred to differentiate from "sty" meaning a pig pen. The choice to spell it "sty" gives the girl who doesn't know Petyr a livestock-evoking eye and thus recursively riffs on Theon's homecoming, in which the men who "did not know who he was" had cattle-evoking eyes. The 'rhyme' is patent.

Sylas Sourmouth & Petyr's Hermit

Getting back to Theon's homecoming and its prefiguration of Sansa's 'field trip' with Petyr… Having been recognized by Helya, Theon asks her about Sylas Sourmouth, who he'd remembered when sailing into Lordsport:

"Sylas was steward here. They called him Sourmouth." Even now, Theon could recall the winey stench of the old man's breath.
"Dead these five years, m'lord."

So Sylas was a foul-smelling wino who is "dead these five years". He thus prefigures Petyr's dead, foul-smelling wino-hermit, who "had not washed in forty years". But he's not the only character in ACOK Theon I who seems to have inspired the story of Petyr's hermit.

"Sylas" Marner

The name "Sylas" shores up the fact that there's a connection between Theon and Petyr, if "only" via the 'rhyme' between Sylas and Petyr's hermit, as it's surely a reference to [Silas Marner by George Eliot], the plot of which massively resonates with Petyr's story.

• Silas is accused of embezzling funds. (See Littlefinger.)
  
• The evidence against him is a knife. (See Littlefinger.)
  
• Silas loses his fiancee to a rival. (See Littlefinger.)
  
• Silas goes to live in the middle of nowhere and loses all faith in God. (See Littlefinger.)
  
• Silas hoards and loves gold he earns from weaving. (See Littlefinger hoarding/loving gold and weaving his webs of lies. See also the "woven leathers" on the Myraham, which 'rhymes' so comprehensively with the Merling King. This also jibes with elpadrinonegro's conviction that the Vale story is riffing on Midsummer Night's Dream, with its weaver.)
  
• Silas adopts a daughter sired by a highborn man and found on a snowy night, her mother dead in the snow. He names her after his deceased mother. (See Littlefinger, and AGOT's first chapter.)
  
• The daughter "grows up to be the pride of the village" (as Sansa is set to be the pride of the Vale?).
  

There's more but those are the highlights. Note that the daughter ultimately redeems Silas from his fallen ways, and continues to treat him as her father even after her 'real' family emerges. Will Sansa 'fix' Littlefinger, as well? Or is life indeed not a song?
One more point of immediate interest to the hypothesis being explored here: "Marner" means sailomariner. If Petyr is in part a riff on Silas Marner, this could be yet another suggestion that he's Hoare-ish and thus ironborn.

Aeron & Petyr's Hermit

Sylas has something in common with the one person who does 'greet' Theon when he lands at Lordsport: Aeron, who we're quickly told twice is "sour", just like Sylas Sourmouth, the stinky dead wino who we already 'rhymed' with Petyr's hermit:

He is as mad as he is sour. Theon had liked what he remembered of the old Aeron Greyjoy.
Mallister… was a more amiable riding companion than this sour old priest that his uncle Aeron had turned into.

Indeed, it's clear that the "sour" Aeron of ACOK Theon I & II and Sylas Sourmouth are mashed up and rejiggered into Petyr's hermit story (repeated here for reference):

There was a hermit's cave on his land as well, but no hermit. "He's dead now, but when I was a boy my father took me to see him. The man had not washed in forty years, so you can imagine how he smelled, but supposedly he had the gift of prophecy. He groped me a bit and said I would be a great man, and for that my father gave him a skin of wine." Petyr snorted. "I would have told him the same thing for half a cup."

Consider that Petyr's hermit was a drunk who "had not washed in… years", who "supposedly… had the gift of prophecy", who received a "skin of wine" for telling Petyr's father Petyr "would be a great man", and who died some unknown number of years ago.
That all 'rhymes' with the Aeron we meet during Theon's homecoming in ACOK. To wit…
Aeron's thin physique, uncut hair and "untrimmed beard" make him look like a stereotypical hermit, but where Petyr's hermit was given a "skin of wine", Aeron carries a "waterskin":

Tall and thin, …the priest was garbed in mottled robes of green and grey and blue…. A waterskin hung under his arm on a leather strap, and ropes of dried seaweed were braided through his waist-long black hair and untrimmed beard.

The seaweed braided in his beard evokes the beach, where dwell… hermit crabs, who likewise pick up and make use of beach detritus.
That Aeron is a priest is also consistent with his prefiguring Petyr's hermit, in that being a 'proper' hermit is a religious calling. (https://en.wikipedia.org/wiki/Hermit)
Aeron echews the comforts of a castle, refusing Theon's offer to "stay the night and share our meat and mead":

"Bring you, I was told. You are brought. Now I return to our god's business." Aeron Greyjoy turned his horse and rode slowly out beneath the muddy spikes of the portcullis.

This prefigures Petyr's hermit being a cave-dweller,
Where the hermit was a wino, Aeron's a former drunk—

The priest's manner was chilly, most unlike the man Theon remembered. Aeron Greyjoy had been… fond of… ale….

—who is now "drunk on seawater and sanctity":

"Aeron is drunk on seawater and sanctity. He lives only for his god—" - Theon (ACOK Theon II)

That phrase neatly prefigures the juxtaposition of the seawater-shooting blowhole with the boulder chiseled with the sign of the Seven, which we see just before the show-and-tell around Petyr's hermit.
Where the hermit "had not washed in… years", Aeron is called "Damphair", as if he's just bathed—

As the man approached, the smallfolk bent the knee, and Theon heard the innkeeper murmur, "Damphair."

—and he greets Theon by giving him a bath:

"Bow your head." Lifting the skin, his uncle pulled the cork and directed a thin stream of seawater down upon Theon's head. It drenched his hair and ran over his forehead into his eyes. Sheets washed down his cheeks, and a finger crept under his cloak and doublet and down his back, a cold rivulet along his spine.

We're also told twice that Aeron was "washed" in the ocean. The first time foregrounds "memory" and letter-writing, which prefigures Littlefinger the letter-writer recounting his childhood memory of the hermit to Sansa:

A memory prodded at Theon. In one of his rare curt letters, Lord Balon had written of his youngest brother going down in a storm, and turning holy when he washed up safe on shore. "Uncle Aeron?" he said doubtfully

The second time paints Aeron as a dry drunk again, even as Aeron tells Theon that the man Theon knew as Aeron "drowned", implying he died some years ago, as the hermit did:

"And what of you, Uncle?" Theon asked. "You were no priest when I was taken from Pyke. I remember how you would sing the old reaving songs standing on the table with a horn of ale in hand."
"Young I was, and vain," Aeron Greyjoy said, "but the sea washed my follies and my vanities away. That man drowned, nephew. His lungs filled with seawater, and the fish ate the scales off his eyes. When I rose again, I saw clearly."

Finally, where the prophet "supposedly… had the gift of prophecy" and used it to tell Petyr's father that Petyr "would be a great man", Aeron offers a prophetic interpretation of the red comet:

[Theon, to Aeron:] "They say the red comet is a herald of a new age. A messenger from the gods."
"A sign it is," the priest agreed, "but from our god, not theirs. A burning brand it is, such as our people carried of old. It is the flame the Drowned God brought from the sea, and it proclaims a rising tide. It is time to hoist our sails and go forth into the world with fire and sword, as he did."

Everything we subsequently read about Aeron only reinforces the 'rhyme': In AFFC it's spelled out that he was a drunk, he calls himself "the prophet", and we learn that he was molested by Euron, thus 'rhyming' with Petyr being "groped… a bit" by the hermit. Then, in The Forsaken, he has an apocalyptic vision of the future while tripping on special wine.

Groping, Bragging, Snorting

But what about when GRRM wrote ASOS Sansa VI? Were there already things in Theon's ACOK homecoming prefiguring Petyr's quip about getting "groped" by the hermit?

"He groped me a bit and said I would be a great man, and for that my father gave him a skin of wine." Petyr snorted. "I would have told him the same thing for half a cup."

Or for that matter prefiguring Petyr snorting and/or his quip about "doing the same thing for half a cup" and/or the hermit saying he "would be a great man"?
Naturally.
One of the first things we see Theon do is 'grope' the captain's daughter. A lot.

Theon agreed, squeezing her breast…
Theon's finger circled one heavy teat, spiraling in toward the fat brown nipple.
"As I have," he said, rolling her nipple idly between his fingers.

And how does Theon get her to let him grope her? With the same thing with which Petyr's father paid the hermit: wine!

The captain's daughter… had come to his bed willingly enough all the same. A cup of wine, a few whispers, and there she was.

(I guess Theon couldn't find a girl who'd let him do it "for half a cup.")
So where Theon gropes the captain's daughter for a "cup of wine", Petyr, "for half a cup", would have been willing to say, as the wino hermit did, that he'd be "a great man"… which is not coincidentally what Theon in effect tells his just-groped captain's daughter (for free) when he implies that he's going to be a king:

"As many times as I've fucked you, you're likely with child. It's not every man who has the honor of raising a king's bastard."

Theon still more unmistakably prefigures Petyr's hermit (saying Petyr would be "a great man") when, during his ride back to Pyke from Lordsport with "Esgred" a.k.a. Asha in ACOK Theon II, he says he will be verbatim "a great man":

[Asha:] "A grievous thing when a great man grows old."
[Theon:] "Lord Balon is but the father of a great man."

What is he doing when he says this? Making even more like Petyr's hermit by 'groping' her, too:

When they were well beyond Lordsport, Theon put a hand on her breast. Esgred reached up and plucked it away.
[Theon] slid his hand back up to where it had been. Her breasts were small, but he liked the firmness of them.

In reply to Theon's groping and flirting and declarations of greatness, Asha… "snorted", just like Petyr when he talks about the hermit:

"I like a woman with a good tight grip."
She [Asha] snorted. "I'd not have thought it, by that wench on the waterfront."

Thus it's hardly a stretch to imagine that this—

"He groped me a bit and said I would be a great man, and for that my father gave him a skin of wine." Petyr snorted. "I would have told him the same thing for half a cup."

—was written as a recursive, kaleidoscopic riff on Theon's homecoming.

Qalen, Wendamyr, & Petyr's Hermit

There remains one detail regarding Petyr's hermit that is as yet unmoored/un-'rhymed':

There was a hermit's cave on his land as well, but no hermit.

The hermit having a cave "on his land" but the cave having "no hermit" is a 'rhyming' rejiggering of what Helya says after Theon (having heard that Sylas Sourmouth is dead) asks her about a Maester Qalen:

"And what of Maester Qalen, where is he?"
"He sleeps in the sea. Wendamyr keeps the ravens now."

"He sleeps in the sea" is clearly a euphemism for being dead. The words "he sleeps in the sea" thus prefigure Petyr talking about a dead hermit who once lived "on his land". (sea → land)
Note that it makes sense that Qalen should prefigure Petyr's hermit, as the name "Qalen" recalls [Hermetic Qabala].
Meanwhile, the rest of Helya's answer prefigures Petyr having "a hermit's cave… but no hermit", as the line "Wendamyr keeps the ravens now" invites us to think this untitled Wendamyr fellow might not be a maester, but rather a 'mere' raven-keeper (a la Chett and later Sam at the Wall or Pate in Oldtown), which would mean there's a maester's tower, but no maester.
Yes, the appendix clears this up, but in the narrative itself it's as if there's now only some rando dude named Wendamyr who isn't a maester but who "keeps the ravens" so Balon doesn't lose access to rapid communication, even if (we might infer) he doesn't want those pesky maesters around now that he's brought back the Old Way.

The Abandoned Mine

That said, there is another piece of the puzzle. About two pages before Helya tells Theon about Sylas and Qalen and Wendamyr, he sees the abandoned workings of a mine during his ride to Pyke:

They kept a steady plodding pace, past a shepherd's croft and the abandoned workings of a mine.

An abandoned mine pretty clearly prefigures Petyr's hermit's cave with no hermit.
Moreover, given that that passage comes but one page before Theon is pointedly unrecognized by the people of Pyke castle, I suspect GRRM deliberately recycled the word "mine" into the odd way Petyr talks about his smallfolk just before he shows Sansa the hermit's cave:

"Mine own smallfolk," Petyr said, though only the oldest seemed to know him. There was a hermit's cave on his land as well, but no hermit.

(The "abandoned workings of a mine" formulation, meanwhile, foregrounds the work done at a mine, such as chiseling through rock, and thus prefigures the place on Petyr's lands where the Andals "had chiseled the seven-pointed star of the new gods upon a boulder" before abandoning it to become the desolate place it 'now' is.)

Slyas Sourmouth & Jon Arryn

Just one more thing regarding Theon's exchange with Helya, in which we read that Sylas and Qalen are dead, while someone called Wendamyr "keeps the ravens now":

"Sylas was steward here. They called him Sourmouth." Even now, Theon could recall the winey stench of the old man's breath.
"Dead these five years, m'lord."
"And what of Maester Qalen, where is he?"
"He sleeps in the sea. Wendamyr keeps the ravens now."

Petyr's smelly wino-hermit aside, what does Sylas the Steward — a verbatim "old man" with terrible "breath" who died five years ago — evoke if not Lysa's complaints about the "stinking" and "foul breath" of Jon Arryn, who was, she thought when she wed him, "such an old man, how long could he live", and whose breath smelled like "bad cheese" (of the sort a "Sour" steward might serve)?
Note the 'perfect' pairing of their breaths: sour wine and bad cheese.
To be sure, Lysa voices these complaints in the Drearfort during Petyr's homecoming chapter, the morning after she weds Petyr, whose breath, she says, "is always fresh", thus creating another strong thread of connection between ACOK Theon I and ASOS Sansa VI. But there's something else going on here.

Petyr Pan & Wendamyr Darling

Noting that we're told about Sylas and his breath just before we're told about Qalen and Wendamyr, surely we might say something like this:

• Where Pyke's former keeper of the cheese, the wine-breathed "old man" Sylas the Steward, is 'out' and where Wendamyr is 'in' as raven-keeper at Pyke… the cheese-breathed "old man" Jon Arryn is 'out' and the fresh-breathed Petyr is 'in' at the Eyrie.

So:

• much younger Petyr & Wendamyr have replaced the old men Sylas/Qalen and Jon Arryn.
• Petyr & Wendamyr ≈ Peter and Wendy
• Peter Pan and Wendy Darling → Petyr & Wendamyr

There's great resonance between [Wendy Darling] and Sansa: Wendy is about 12 or 13, on the cusp of adolescence/adulthood. She loves story-telling and fantasizing. She has two younger brothers, who become "Lost Boys". In Peter's realm of Neverland, she is forced to take on maternal tasks. (See Sansa in Petyr's Eyrie vis-a-vis Sweetrobin.) The parallels are plain.
It's worth noting that after getting caught up in Peter's world and enjoying herself for some time, Wendy remembers who she really is and decides to return home, bringing her brothers with her.
On a totally different note: Does the foregoing suggest that Wendamyr might somehow 'belong' to Petyr?

TO BE CONTINUED IN PART 9: "Cargos, Slatterns & Butchery" with Helya & Grisel.

Now Is The Boogeyman available to stream? Is watching The Boogeyman on Disney Plus, HBO Max, Netflix, or Amazon Prime? Yes, we have found an authentic streaming option/service. A 1950s housewife living with her husband in a utopian experimental community begins to worry that his glamorous company could be hiding disturbing secrets.
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Still reeling from the tragic death of their mother, a teenage girl and her younger sister find themselves plagued by a sadistic presence in their house and struggle to get their grieving father to pay attention before it’s too late

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Released: 2023-06-01
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Stars: Sophie Thatcher, Chris Messina, Vivien Lyra Blair, David Dastmalchian, Marin Ireland
Director: Stephen King, Stephen King, Shawn Levy, John H. Starke, Kari Perkins
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Sophie Thatcher
Actress
Sophie Bathsheba Thatcher is an American actress. She is best known for starring in Showtime's psychological drama series Yellowjackets (2021-present), and for her appearance in The Book of Boba Fett (2022). In 2018, she made her big screen debut in the American science fiction film Prospect. Thatcher's work on stage includes productions of Oliver!, Seussical, The Diary of Anne Frank, and The Secret Garden.
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Chris Messina(I)
Actor
Producer
Director
Chris Messina was born on 11 August 1974 in New York City, New York, USA. He is an actor and producer, known for Argo (2012), Away We Go (2009) and Devil (2010). He is married to Jennifer Todd. They have two children. He was previously married to Rosemarie DeWitt.
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Maddie Nichols
Actress
Maddie Nichols was born on the 28th of January in Baton Rouge, Louisiana, USA to Byron Lee Nichols and Rhonda Kay (Guidry) Nichols. She began acting at 10 and made her start with student films and silly shorts with her friends; eventually getting more roles as time went on. Inspired by creative crew members who have become close friends, she hopes to learn from her set experience and eventually direct projects of her own.
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Every culture has one – the horrible monster fueling young children's nightmares. But for Tim, the Boogeyman still lives in his memories as a creature that devoured his father 16 years earlier. Is the Boogeyman real? Or did Tim make him up to explain why his father abandoned his family?
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Once upon a time in the early 20th century, amidst an era of remarkable individuals, lived two extraordinary souls destined to meet—Robert Wadlow, a towering giant, and Jyoti Amge, a petite marvel. This tale blends the realms of historical fiction, comedy, romance, and tragedy, capturing the essence of their unique connection.
Robert, known for his extraordinary height, stood at a colossal 8 feet 11 inches, captivating the world with his gigantic presence. Jyoti, on the other hand, stood merely 2 feet tall, holding the record for being the world's smallest woman. Fate, with a mischievous twinkle in its eye, orchestrated their meeting at a grand exhibition showcasing human oddities.
As they crossed paths, the stark contrast between them was both amusing and enchanting. Robert, with his lanky frame, towered over Jyoti, who gazed up at him in awe. Their initial encounter sparked a comedic exchange when Robert extended his hand for a handshake, and Jyoti, looking up, exclaimed, "I'm not touching that. It's too big!"
Laughter filled the air as Robert blushed, realizing the unintentional humor. He apologized with a sheepish smile, and their conversation began to flow effortlessly, transcending their physical disparities. Despite the obstacles they would face as a couple, an unexplainable connection formed between them.
Their romance blossomed amidst a world that often struggled to comprehend their love. Their differences only seemed to strengthen their bond, as they became each other's pillars of support. Robert, with his gentle nature, enveloped Jyoti in his enormous embrace, always mindful not to hurt her delicate frame. Jyoti found solace and warmth in his loving arms, realizing that it was Robert's heart that truly defined him.
However, tragedy lurked on the horizon. Robert's towering height began to take a toll on his health, causing immense pain and complications. Doctors tried their best to alleviate his suffering, but his body gradually succumbed to its own colossal proportions. With each passing day, Robert's strength dwindled, and his time on this earth grew shorter.
Jyoti, by his side throughout the ordeal, faced the agonizing truth. She knew that their love, as deep as it was, could not prevent the inevitable. As Robert's health deteriorated, Jyoti held his hand, tears streaming down her face, and whispered, "That will tear me apart, my love, but I will cherish every moment we had."
In the final moments of Robert's life, Jyoti, now widowed, stood alone but not defeated. Their love story, though filled with tragedy, had a profound impact on those who witnessed it. It taught the world that love transcends physicality, that the heart sees no barriers, and that the bonds we forge can withstand even the harshest trials.
Years later, the world would remember their story, the tale of Robert Wadlow and Jyoti Amge—the giant and the tiny woman—whose love defied expectations and left an indelible mark on history.

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“During my time of resolute striving on the bank of the Nerañjara River, I was meditating very hard for the sake of finding sanctuary from the yoke.
Namucī approached, speaking words of kindness:
‘You’re thin, discolored, on the verge of death.
Death has a thousand parts of you, one fraction is left to life. Live sir! Life is better! Living, you can make merits.
While leading the spiritual life and serving the sacred flame, you can pile up abundant merit—so what will striving do for you?
Hard to walk is the path of striving, hard to do, a hard challenge to win. ’”These are the verses Māra spoke as he stood beside the Buddha.
When Māra had spoken in this way, the Buddha said this:
“O Wicked One, kinsman of the negligent, you’re here for your own purpose.
I have no need for the slightest bit of merit. Those with need for merit are fit for Māra to address.
I have faith and energy too, and wisdom is found in me. When I am so resolute, why do you beg me to live?
The rivers and streams might be dried by the wind, so why, when I am resolute, should it not dry up my blood?
And while the blood is drying up, the bile and phlegm dry too. And as my muscles waste away, my mind grows more serene. And all the stronger grow mindfulness and wisdom and immersion.
As I meditate like this, having attained the supreme feeling, my mind has no interest in sensual pleasures: behold a being’s purity!
Sensual pleasures are your first army, the second is called discontent, hunger and thirst are the third, and the fourth is said to be craving.
Your fifth is dullness and drowsiness, the sixth is said to be cowardice, your seventh is doubt, contempt and obstinacy are your eighth.
Profit, praise, and honor, and misbegotten fame; the extolling of oneself while scorning others.
This is your army, Namucī, the strike force of the Dark One. Only a hero can defeat it, but in victory there lies bliss.
Let me gird myself—so what if I die! I’d rather die in battle than live on in defeat.
Here some ascetics and brahmins are swallowed up, not to be seen again. And they do not know the path traveled by those true to their vows.
Seeing Māra ready on his mount, surrounded by his bannered forces, I shall meet them in battle—they’ll never make me retreat!
That army of yours has never been beaten by the world with all its gods. Yet I shall smash it with wisdom, like an unfired pot with a stone.
Having brought my thoughts under control, and established mindfulness well, I shall wander from country to country, guiding many disciples.
Diligent and resolute, following my instructions, they will proceed despite your will, to where there is no sorrow.”
“For seven years I followed step by step behind the Blessed One. I found no vulnerability in the mindful Awakened One.
A crow once circled a stone that looked like a lump of fat. ‘Perhaps I’ll find something tender,’ it thought, ‘perhaps there’s something tasty.’
But finding nothing tasty, the crow left that place. Like the crow that pecked the stone, I leave Gotama disappointed.”
So stricken with sorrow that his harp dropped from his armpit, that spirit, downcast, vanished right there.

Striving

Comedian Sebastian Maniscalco is venturing into autobiographical territory for his big-screen feature debut. About My Father, a comedy based on Maniscalco's own relationship with his father and extended family, is set to hit theaters next year.

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Maniscalco's stand-up is based around his family life and upbringing, often revolving around his life with Italian immigrant parents. Beginning his career in the early 2000s performing at open mic nights, he has released five stand-up comedy specials as of 2022, with the two most recent exclusively released on Netflix. While he has appeared in supporting roles in films like Tag, Green Book, and The Irishman, About My Father will mark Maniscalco's first leading role in a major production. Maniscalco is co-writing the screenplay with Austen Earl, and Laura Terruso is on board to direct. Chris Weitz, Paul Weitz, Andrew Miano, and Judi Marmel will produce for Lionsgate and Depth of Field. Lionsgate will also handle distribution.
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So where can you watch "About My Father"? Is it on Netflix? What about HBO Max? Here's your guide to everything you need to know about how to watch Robert De Niro's anticipated comedy adaptation for "About My Father" where to watch it.
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When does the About My Father come out?
About My Father’s official release date is Friday, May 26, 2023. There are 15 other movies coming out on the same date, including The Machine, Kandahar and The Little Mermaid.
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Where To Watch About My Father:
As of now, the only way to watch About My Father is to head out to a movie theater when it releases on Friday, May 26. You can find local shows on Fandango, IMAX, Regal, AMC Theatres, Cinemark, Cineplex, Landmark Theatres, Alamo Drafthouse and Harkins Theatres.
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Otherwise, you’ll just have to wait for it to become available to rent or purchase on digital platforms like Amazon, Vudu, YouTube and Apple, or become available to stream on Starz.
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However, it will be available to stream on the Peacock platform soon. Disney+ typically follows a 90-day period before its theatrical releases come to the streaming platform. That means we may see the live-comedy version of "About My Father" come to Peacock as early as August 2023.
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When Will About My Father Be On Streaming?
While a digital release date for About My Father has not yet been announced, we can make an educated guess based on a previously released Lionsgate movie.
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Plane, which premiered on May 26, came to digital platforms in July. 10 — about three weeks after it was released in theaters. If About My Father follows the same trajectory, we could be watching it from the comfort of our living rooms by late July or early August 2023.
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Will About My Father Be On Peacock?
Lionsgate struck a massive distribution deal with Peacock that gives the streaming service exclusive rights to its films’ “Pay 2” streaming window (via THR). The agreement means that after Lionsgate’s films have their initial streaming releases on Starz, the movies, like About My Father, will later be available to stream on Peacock. Since Lionsgate hasn’t even confirmed the official streaming release date for the John Wick sequel on Starz, don’t expect to see the movie land on Peacock until at least winter 2024 after the deal officially kicks in.
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Pay 1 windows typically last between a year to 18 months, meaning that if About My Father begins streaming on Starz in September 2023, it isn’t likely to join Peacock's movie library until September 2024 at the earliest. Peacock and Lionsgate's deal confirmed that releases like About My Father would start streaming on the service in 2024, so the latest movie will most likely be on Peacock in fall 2024. By this time, About My Father will be available alongside the entire John Wick franchise for streaming on the platform.
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Is About My Father On Netflix?
No, About My Father will not be available on Netflix — at least not anytime soon, since it will be heading straight to Disney+ after its theatrical release. In the meantime, you'll just have to wait for it to become available on the Disney+ streaming platform
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Is About My Father 2023 streaming on HBO Max?
No, About My Father will not be available on HBO Max. it’s not a Warner Bros, About My Father is distributed by Walt Disney Studios, so therefore, it will stream to Disney+. The streaming date is unknown at this time, and due to its box office potential for the summer, do not expect About My Father to arrive on Disney+ anytime soon. Our best guess is a Disney+ premiere date in September 2023, but check back with us when it’s official.
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Is About My Father Streaming On Hulu?
Viewers are saying that they want to view the new action movie The About My Father on Hulu. Unfortunately, this is not possible since Hulu currently does not offer any of the free episodes of this series .
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Is About My Father on Amazon Prime?
We hate to tell you that ‘About My Father’ is not included in Amazon Prime’s library. But you can still make the most of your subscription by turning to other alternatives that the streaming giant houses, such as ‘Prisoner X‘ and ‘The Prison.’
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How to Watch About My Father Online For Free?
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There are a few ways to watch About My Father online in the U.S. You can use a streaming service such as Netflix, Hulu, or Amazon Prime Video. You can also rent or buy the movie on iTunes or Google Play. You can also watch it on-demand or on a streaming app available on your TV or streaming device if you have cable.
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When Will About My Father be on DVD and Blu-ray?
Summer and early Fall is also the likely date for a release of About My Father for Blu-Ray and DVD, though no specific date or timeline has been given at this time. As for a VOD release, the film will likely be available to buy digitally a few weeks before the inevitable streaming release for $20 USD.
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About My Father cast
Leading the cast is stand-up comedian turned actor Sebastian Maniscalco. This is gearing up to be a big year for Maniscalco as he also stars in The Super Mario Bros. Movie and Spinning Gold. He’s previously had roles in Green Book, Somewhere in Queens and The Irishman.
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Maniscalco stars in About My Father alongside his Irishman costar Robert De Niro. De Niro is a two-time Oscar winner who has been seen in classic films such as The Godfather Part II, Goodfellas, Casino and Taxi Driver. In terms of his comedic efforts, he’s been featured in the Meet the Parents franchise, The Intern, Dirty Grandpa and more.
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Joining the Maniscalco and De Niro are:
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Leslie Bibb (Jupiter's Legacy)
Anders Holm (Inventing Anna)
David Rasche (Succession)
Brett Dier (Jane the Virgin)
Kim Cattrall (How I Met Your Father)
'About My Father' Is a Love Story Between Father and Son
About My Father is both exactly what you'd expect it to be and also one of the most pleasant surprises of the year. It's in the vein of the studio comedies of the early aughts like My Big Fat Greek Wedding and Meet the Parents while also having a bit of Wedding Crashers thrown in there as well. It would have been extremely easy to have its sense of humor built completely around one-note stereotypes but director Laura Terruso, as well as co-writers Maniscalco and Austen Earl, don't go that route. There is something so sweet and honest about the film as it's a romantic comedy where the love story is about the bond between father and son. Ellie's wealthy family aren't portrayed as villains nor is Salvo portrayed as some antagonist father. Instead, the film establishes very early on that these two families are from different worlds. The film opens with Maniscalco narrating a montage about what it means to be Silician as well as reminiscing about his childhood, so by the time we meet Ellie's family, Terruso doesn't antagonize them, but instead shows them as otherworldly. For example, when we first meet Lucky he's stepping out of the family's helicopter wearing a flight suit that makes him look like he just walked off the set of Top Gun: Maverick.
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De Niro's track record in comedy has had some mighty heights, the aforementioned Meet the Parents, Analyze This, and Silver Linings Playbook, as well as some dismal lows such as Dirty Grandpa and The Big Wedding. Fortunately, de Niro is in fine form playing Salvo, who is directly based on Maniscalco's real-life father. In a role that feels almost the polar opposite of Jack Byrnes, de Niro gleefully throws out witty one-liners about being an immigrant, building Nintendos out of wood, and Che Guevera. He's clearly having a wonderful time on set, and he truly does feel so natural as this character (it probably helps that he met up with the real-life Salvo before and during filming). He plays Salvo like he's that relative that you only see at family reunions who lives in his own world, talking to you for hours as you sit next to him while downing your fourth bottle of beer, not annoyed, but having the time of your life. Paired with Maniscalco's everyman, the two leading men have excellent chemistry, bouncing off of each other extremely well. Leslie Bibb, Kim Cattrall, David Rasche, and Anders Holm all get their time to shine as well, but the supporting cast's biggest scene-stealer is Brett Dier as Doug who garners some of the film's biggest laughs every time he appears on screen.

Since the Boston Celtics lost Game 7 of the Eastern Conference Semi-finals last night, I came across a number of occasions where people online are saying Boston celtics fans are racists or have racist tendancies.
The first instance was in a Twitch live-stream I was watching last night, a user sent a message hinting at that in chat.
And the second instance was just now I saw this post on Facebook.