Author: laariruby

How Video Games Became the New Social Space for Young Adults

By Laari Ruby

Humans are social animals. We need interpersonal connection and time with other people to feel fulfilled. For young people, video games have begun acting as a digital third space where that time can be spent. These virtual environments are places where people from all over the world can connect over a shared game. People can unwind after a long day and create new friendships or maintain long distance ones.

While video games are often seen as an isolating form of entertainment, many young adults actually use them as a key tool for social bonding, though how they are used can vary widely depending on the gender of the players and game types. 

The “third place” is a sociological concept developed by Ray Oldenburg that refers to the social surroundings separate from home or the workplace. They act as anchors in a person’s community that allows them to participate in civic engagement and build a sense of belonging. A third place is somewhere people go to relax, see familiar faces and have a good time. 

Traditionally, this could be coffee shops, bars and other gathering spaces. 

In the ever-evolving digital age, these third spaces can be difficult to access due to expenses, transportation or a lack of free time. Especially for younger generations and teens who cannot yet drive, video games and online gaming are increasingly becoming that third place, one where they don’t need to leave home to get there.

According to the Pew Research Center, with 85% of teens reporting that they play video games, and 41% playing daily, there is a huge number of people in the same age range who have the ability to connect over a shared interest. Among these teens who game, 89% play with others either online or in-person, 72% play specifically to spend time with others, and 47% have made a friend through online gaming. 

Within these statistics, there is more variation when gender is considered. Men and women have different games they prefer, motivations for playing, and frequencies they play. Men are more likely than women to prefer playing with others and to have made a friend through their online gaming.

The differences in how men and women utilize the social possibilities of video games may be explainable by a popular social theory developed by anthropologist Robin Dunbar. He argues that men develop friendships by engaging in work or a hobby, or shoulder-to-shoulder friendships. Women’s, in contrast, develop friendships that are more rooted in emotional connection and sharing information, or face-to-face friendships. 

“I like to play Fortnite with my friends, not because it’s my favorite game, but because everyone plays it,” said Tyler Parrish, a senior mechanical engineering major. 

Men often use video games as a way to create and maintain friendships because they can speak with each other while playing. According to Pew, boys who play video games are more likely than girls to say it has helped them with their friendships, 55% compared to 35%. Whether they prefer the game or not, they play to engage in the social element.

In this interview, 22-year-old Parrish describes how gaming helps him stay in touch with friends.

Men play video games often as a way to “see” their friends. Women, however, are much less likely to play video games or identify themselves as gamers. Video gaming is male-dominated, with many women experiencing some form of discrimination or harassment during their online games.  Men are more likely to play with others than women and far more likely to have made an online friend through a video game. 

This doesn’t mean that women don’t enjoy playing video games during their social gatherings. Many women that play video games don’t identify themselves as gamers, and many women that play video games don’t necessarily do so for the game itself, but rather for the entertainment it can provide a group of people. Women may find they prefer to play in person, with people they already know.

Video Package: https://youtu.be/YA7WLHoglTY

Emily Schuman, a senior microbiology major, says she and her roommates play Mario Kart because it is a fun way for them to all participate in the same activity when they spend time together. Schuman said she and her roommates do a wide variety of things to spend time together from playing board games and shopping to just carpooling to their classes. 

While Schuman and her roommates do not identify as gamers, they play Mario Kart nearly every week. Like with many women, they don’t view these games as a hobby but as a form of quality time. 

Gaming can act as a stress reliever, with a recorded ability to reduce anxiety and boost mood. A study done by Oxford University’s Oxford Internet Institute shows that  nearly three-quarters of players were likely to experience a mood uplift after 15 minutes of gameplay. 

Some games are designed to be extremely competitive and high stress, such as first-person shooter games or horror games. Others are designed to be very relaxing and low stakes, such as Stardew Valley or Animal Crossing. The effect a video game might have on someone’s emotions depends on both the game someone chooses and their pre-existing levels of emotional regulation. It can be highly beneficial to play a video game to improve a mood, but it is important to select a game that will help make that happen.

Onochie Ikegbunam, an engineering major, plays Rocket League on Friday, February 21 in The Tate Gameroom. He chose the game to pass time while he waited for his boss to get to the Tate Student Center after his class was over. (Photo/Laari Ruby) 

Onochie Ikegbunam, an engineering major, spends his downtime in the Tate Gameroom on the University of Georgia’s campus while he waits for his boss. “I just come into this place to just like, cool off and then play one or two games,” Ikegbunam said. Ikegbunam is an example of someone who plays video games casually to relieve stress between his daily commitments. 

Video games are a powerful and flexible social tool, especially for young people still learning to navigate maintaining relationships. As our society becomes more reliant on technology and the internet, our third spaces also begin to move onto these online platforms. Gaming is a way for many people to stay connected with one another and offers new ways to enjoy another person’s company. Video games can act as a stress reliever and a mood booster. Despite a common belief that video games are detrimental to young peoples’ mental health and emotional regulation, studies prove the opposite. Video games and online gaming are a great strategy to stay connected with peers.

Longlegs is a haunting serial killer that creates a constant panic in the audience, but leaves something to be desired by the end.

By Laari Ruby
July 20, 2024

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“Longlegs” director Osgood Perkins clearly understands the techniques and tropes that make horror a captivating genre. He is able to use these standards to subvert audience expectations and instill a constant sense of dread, one that is never relieved. Visually, this film is stunning, but it falls short in terms of writing. The ending felt cliche and slightly rushed, and the resolution didn’t maintain the anxious tone of the rest of the film. 

“Longlegs” follows FBI detective Lee Harker (Maika Monroe) as she tracks down a serial killer (Nic Cage) that has been operating for decades. Harker has an inexplicable psychic ability that allows her to operate quickly and easily decode Longlegs’ messages left at crime scenes. As she pulls on the threads of this expansive case, she finds herself personally connected to the killer, tearing open her past and her relationship with her mother. 

Where “Longlegs” shines the most is in its unsettling anxious tone. Rather than being a horror movie that leans on jumpscares, bodily horror, or terror this film instead instills a constant sense of dread that is never resolved. Every technical aspect of this work contributes to making the viewer anticipate something and never easing up enough for the viewer to relax. The sound design highlights droning noises like air conditioning or wind, making the viewer acutely aware of every surrounding. 

Very little violence or action actually takes place, though multiple times Harker encounters a scene where it feels imminent. The recurring anticipation of violence is, interestingly, just as effective in scaring the viewer as actual scare tactics. When Monroe clears a space, her breathing and heartbeat take over the audio, amplifying the primal reaction to fear. Instead of anyone jumping out of the dark rooms around her, you watch for minutes, waiting for anything to happen. The one time someone walks through the back of the frame it affirms that there really is something lurking in that dark corner. There is very little tension and release in this film, it holds back almost every time, letting you imagine the worst. 

The cinematography of “Longlegs” was a stunning use of framing to set the tone. The camera played with deep space and darkness very well, with busy backgrounds, long hallways, and open doorways constantly fighting for your attention behind characters. Many shots had dark space where something could’ve been hiding, a plausible spot for a jumpscare to happen. It keeps the viewer’s attention all over the screen and unnerved over the possibilities. 

Maika Monroe gives a stunning offbeat performance while leaving the audience little to find comfort in. She seems unable to form normal connections with other characters and has a sense of fear throughout the entire film. Cage also gives a strange performance, with a deranged demeanor that few could achieve so well. His presence in the film is interesting, given his lack of [experience] in horror roles. His presence on screen is undeniable though, he portrayed Longlegs very well and captured the mania of a satanic serial killer brilliantly. 

The writing is the weakest point of “Longlegs.” So many common horror tropes are crammed into the film that it begins to feel cliche, especially as they pile on top of each other by the end. The use of dolls, demonic possession, psychic linkings, nuns, and psych wards were effective in their own right but began to compete with each other for significance. The film plays expertly with the mystery and darkness at the beginning and unwinds slowly through the middle. By the end of the film the pace was much faster to the point of rushing and the reveals of connections were a bit predictable. The ending leaves a lot of questions unanswered while also overexplaining itself. It attempts to leave you with a sense of mystery, but ultimately when you leave the theater that sense of dread is resolved. The killers are gone, the child is saved, and while the gun does fail to go off when pointed at the doll, there is no lingering sense of real threat. This is where “Longlegs” really falters. With a film that keeps you in its grasp the entire time, it completely fails to leave you with any aftershock. 

The heavy reliance on satanic messaging also felt a bit cheap. There are many ways to make an audience feel threatened by evil, as the film had done constantly up to the end. But by the time the story was resolving, suddenly characters were saying “Hail Satan” into the camera. This was a confusing turn around at this point and it felt strange for the film to suddenly toe over the line of using satanic symbols as a narrative device to portray evil to suddenly feeling satanic itself. The film had done so well with the tone it had set that turning to such an extreme sort of imagery was very strange, and took me out of the experience. 

“Longlegs” overall was a good watch and a very interesting contribution to the modern horror landscape. It is by no means dismissible due to its flaws, but it does call attention to the details that make a film good versus great.

Riley and her emotions return, along with four new emotions, to show audiences how cramped a teenage girl’s mind can be.

By Laari Ruby
July 8, 2024

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In an era of unrelenting sequels and remakes, Pixar Studios reminds us why a franchise should be continued. “Inside Out 2” doesn’t lean on the first film to get audiences in the theater, but rather creates a compelling sequel that naturally progresses after the first. 

“Inside Out 2” continues the story of Riley (Kensington Tallman) and her inner emotions as she grows up. Riley becomes a teenager and encounters complicated social situations causing her to acquire a whole new range and intensity of emotions. Pixar explores the inner workings of a teenage girl’s mind, showing how puberty affects these emotions and how difficult it can be to learn to regulate those emotions and intensity. 

Riley and her two best friends / teammates are at a weekend hockey camp which acts as tryouts for the high school team. The looming alarm labeled “Puberty” on the console of Riley’s mind finally goes off and the headquarters that Rileys five emotions Joy (Amy Poehler), Sadness (Phyllis Smith), Disgust (Liza Lapira), Anger (Lewis Black) and Fear (Tony Hale) live in is completely and chaotically rebuilt. The soon after entrance of four new emotions Anxiety (Maya Hawke), Envy (Ayo Edebri), Embarrassment (Paul Walter Hauser) and Ennui (Adèle Exarchopoulos) throws off the balance created by the five original emotions. On the way to the camp, her friends reveal that they will not be going to the same high school as Riley. This sets the scene for Riley’s sense of the future to become extremely unknown. With a host of new emotions in the mix, the group must figure out how to work together once again. When Anxiety becomes overbearing, the original five find themselves lost in the back of the mind and must find their way back to headquarters. This film is a whimsical and dreamy representation of what happens when a person’s mind is taken over by one emotion. Anxiety tears off Riley’s sense of self and tries to rebuild it, making Riley doubt everything she is. 

The construction of Riley’s sense of self is new to this sequel, something that comes slowly as children grow older. Core memories are stored below headquarters and send strings up to a sort of flower that grows in the center of the room above, that chimes “I’m a good person”. When anxiety takes over the memories sent down become riddled with self-doubt and conditionals, causing her new sense of self to be built on a foundation of worry. This conflict over Riley’s sense of self reflects on her struggle understanding what her future will look like and figuring out who she is among peers she looks up to. How will Riley handle not knowing if she fits in? 

At the climax of the film Anxiety loses all control creating a storm in Riley’s mind. The other emotions are pushed away from the console and Anxiety becomes frozen at the helm. What Pixar does so well in this film is explore and represent mature topics in a way that is digestible for children. Feelings of anxiety are new to teens and can seem unbearable but a film like this can help them understand how to handle those feelings. The representation of this emotion is so well catered to show how Anxiety can take vicious hold of the mind if not balanced and controlled, but also shows that it doesn’t need to be in control. 

The final scene of the film is a perfect conclusion to what the Inside Out franchise is all about: learning to balance all of our emotions, positive and negative, rather than trying to get rid of certain ones. At the beginning Anger and Sadness are used at key moments to allow Riley to express herself, in a hockey game and then after receiving upsetting news. After those emotions gave Riley what she needed, Joy was back at the controls. By the end, Riley has learned how to use Anxiety as a tool to plan for the future without letting it control her mind. Instead of disregarding Anxiety, she once again shows audiences that each emotion serves a purpose. 

The newest installment of the Mad Max series shows audiences that high quality characterization doesn’t need to be sacrificed for stylization and visual appeal.

By Laari Ruby
July 1, 2024

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My fear for “Furiosa: A Mad Max Saga” going in was that its purpose would be unclear. I knew this film would have very little dialogue and nearly constant action due to the director’s style, so would enough character development happen to warrant calling this film an “Odyssey”? Yes, it would.

This film is a master class in visual storytelling, and a balance of action and forced stillness that allows the character to prepare herself for the next journey and show development, and for the audience to breathe and prepare themselves. These pauses help demonstrate how tough the characters must become due to the persistent violence of their universe and come few and far between in this film.

“Furiosa: A Mad Max Saga” is an example of how an action driven movie can be a visual spectacle without sacrificing complex characterization. Director George Miller has a distinct filmmaking style in which dialogue is used only when absolutely necessary, causing the visuals to carry the weight of almost all the storytelling. Miller sees film as a visual medium and believes that dialogue slows down a story. Given that the Mad Max universe is meant to be an action-packed and high paced universe, it makes sense that dialogue would take the backseat. However, Miller doesn’t allow his aversion to dialogue stop him from creating complex meaningful moments and connections between his characters.

“Furiosa: A Mad Max Saga” goes into great depth discovering Furiosa’s (Anya Taylor-Joy) character and her life, but Miller lets the action speak for itself and allows Taylor-Joy’s performance to carry the weight of her character’s evolution, demonstrating through action or expression rather than speaking her thoughts. Taylor-Joy’s performance in this film is captivating, balancing intense emotions and a suppressed natured character. Chris Hemsworth demonstrates his ability to play a deranged and unlikable character, moving outside of his known roles, while maintaining his comedic charm. Taylor-Joy and Hemsworth had palpable chemistry in this film acting as foils to demonstrate the hatred and violence that lives in the wasteland when someone is at the top of the food chain versus the bottom.

The stylization of the Mad Max saga is expertly maintained in the latest installment while also staying innovative. The action scenes have inventive vehicles and attacks that create the action / adventure wow factor that many people love these movies for. The fight scenes that make this series so iconic continue to evolve and show the creativity of the minds behind this film, they maintain iconic battle strategies from previous movies while giving the viewer new visuals. The characters from “Mad Max: Fury Road” were nearly identical in their roles today, which is very impressive and lends praise to the costume and makeup department. The continuity between actresses playing Furiosa was very well preserved and the audience can easily visualize the two women being the same person, especially with attention to continuity in every other aspect of the movie.

The CGI in this film however was not to the standard of previous films. “Mad Max: Fury Road” was known to have intricate practical shots and well crafted digital frames whereas while watching “Furiosa: A Mad Max Saga”, there were some moments of obvious green screening and poor CGI that took me out of the experience.

One of the greatest parts of Furiosa as a character is how well rounded she is. Furiosa seems to be one of the most well written and realistic female characters audiences have in action films. The way the writers and Anya Taylor Joy are able to show the humanity in Furiosa while maintaining her strength defies so many “strong female” stereotypes. When Furiosa finds Praetorian Jack (Tom Burke) she is able to experience romantic love and have moments of femininity and gentleness. Viewers are able to see what genuine love looks like in the wasteland without abandoning the characteristics that it already forged in Furiosa. Then, when the two get stuck in a life or death situation, Furiosa chooses to cut herself free and leave him to make sure she survives. Having a female character written with her humanity and femininity in mind but her survivalist instinct at the forefront is very uncommon in action, but Furiosa reminds audiences that well rounded female characters can be done, and that it is very compelling when it happens.

Luca Guadagnino’s latest story stars electric performances from Zendaya, Mike Faist and Josh O’Connor in a film that masters intensity.

By Laari Ruby
June 3, 2024

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Luca Guadagnino’s “Challengers” is a showcase of his absolute mastery of the art of tension. His ability to string together 15 years of plot while maintaining the viewers attention and excitement lends to his ability to direct an electric tone. 

The film jumps around its timeline yet maintains its sense of direction, keeping score of everything to happen in three messy relationships. The tennis and sex of it all are woven so closely together that one cannot exist without the other, and every scene between two people seems to be about both simultaneously. Writer Justin Kuritzkes complicates the narrative without leaving the audience behind, allowing us to untangle years of backstabbing, anger and repression both on the court and off. 

The brilliance in this film is in presenting the audience with a mess without making the story itself messy. There is so much density to the relationships that the audience has to untangle and interpret, yet there is no point in the film where I found myself lost or confused, I always understood why one thing happened, or why it related to a past event. Jumping around a 15 year timeline is no easy feat, but Kuritzkes does it with ease. 

In “Challengers”, tennis player Art (Mike Faist) is trying to find his groove after a losing streak. With the help of his wife and former tennis star Tashi (Zendaya), he enrolls in a small challenger competition, however Art’s old friend Patrick (Josh O’Connor) is there to steal the trophy and his wife. The backstories of each are deeply explored and the parallels between past and present keep us enticed with the current moment at the challenger event. 

With so much time moving through this film, one of the more unique and genius things Guadagnino does is keep the score extremely consistent. A high energy EDM beat is used throughout the entirety of the film. The score lacks any orchestral music that would typically attempt to blend into the background or cue our emotions, but rather uses the beat to keep the film focused. The score creates a cohesive feel keeping the audience in a competitive mindset and creates an energetic tension in moments that would otherwise be seen as emotional. Parallels in the story are further emphasized by being cued by the same music. We are shown how much the characters are consistently focused on winning. Using the same music during tennis matches and love scenes show us that nothing is truly an independent event, but that everything ties together. The abrupt stop and start of the music heightens the tension, it never lets go of your attention and lends to the aggression present in every character. The constant high energy keeps the audience on the edge of their seat, further showing this mastery of tension. 

The cinematography of the film matched the electric energy of the score. The camera shows the grandeur of these characters, keeping the actors filling the frame and centered. Very long takes emphasize how quickly these characters change on each other the moment they realize a new opportunity for success. The camera compliments the story’s tone without being so experimental that it draws the audience away from the story, which is often Guadagnino’s focal point in his films. 

The cinematography steals the show in the final scene during a showdown between Art and Patrick, when the camera becomes the tennis ball. We as the audience see the two men swinging back and forth at each other and get ripped around the space between them. This shot captures the animosity on the court and the intensity of this moment so well by getting into the physicality of the sport. After going over the net a few times, the camera swirls and pulls upward away from the net, giving us a bird’s eye view of the court. This shot captured my attention more than any shot I can remember in recent history. 

This is the first two scenes of my original screenplay Caught. This was a final project in my Introduction to Basic Dramatic Writing class, and is a comprehensive example of my screenwriting skills. It is completely self-written and showcases my skills in developing characters, describing specific camera shots and movement and use of dialogue. 

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By Laari Ruby
May 6, 2024

Students line up to ask Mayor Girtz questions after a news conference on the University of Georgia’s campus on Friday, April 19. The news conference briefed students on the Future Land Use Plan for densification of Athens-Clarke County. (Photo/Laari Ruby)

Mayor Kelly Girtz announced Friday that Athens-Clarke County will complete a sustainability analysis and a Future Land Use Plan by the end of 2024 that will detail how to prepare for the forecasted growth in Athens’ population.  

Athens-Clarke County is expected to grow by over 30,000 additional residents by 2045, according to the Athens-Clarke County Future Land Use Map. Girtz is working on a land use plan that he said will host new and current residents in an environmentally and economically friendly way. 

Girtz said he hopes the plan will allow new residents to move in without increasing rental prices or displacing current residents. The Mayor said 8,700 Athens households are cost burdened or severely cost burdened and rent has increased by 25 percentage points more than household income. Girtz plans to account for financial stress by funding housing in next year’s budget plan. 

“At the end of next week, you’re going to see a million dollar fund toward affordable housing so that we can build on some of these lots that have been dormant and underutilized in neighborhoods where we’ve already got infrastructure,” Girtz said. 

UGA has accepted and enrolled more freshmen each year for the past four years, according to the UGA Fact Book, and this increasing number of freshmen means more students looking for off-campus housing in their future years, given that university housing can only accommodate around 9,000 students. Girtz said easy access to campus is a main priority in creating student housing.  

Melissa Link, District 2 Commissioner of Athens-Clarke County, was quoted in the Athens Banner-Herald saying she believes student housing should be built on the edges of UGA’s campus to lessen the development pressure placed on the community. 

Girtz said his plan accounts for this competition by creating student-oriented housing in places that have no current residents to displace, such as parking lots and old hardware stores. He plans to continue looking for more accommodations if the student population continues rising. 

Some Athens residents said they believe that before we accept new residents into Athens and build new housing for them, we should focus on preserving what makes Athens a unique city. 

“Before we can start building more infrastructure we need to establish more protected areas of our environment and historic districts, and limit the number of students coming in,” said Maisy Hufford, a third year political science and environmental economics and management major. 

The land use plan will attempt to find a balance between accommodating students and preserving historic areas. Girtz said the plan will attempt to build housing in places that are a short walking distance from campus. 

The Mayor’s process of creating the Future Land Use Plan began with many public input sessions that are continuing through the summer. The plan is online at Athens-Clarke County’s website including a map of all areas planning to be expanded, with more opportunity for public input. The plan will be completed by the end of 2024 and brought to the county by 2025.

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Why I Wrote the Story:

This story was an news coverage that all Reporting I students were able to gain experience from. I wrote my story from the angle of student housing because that was something I knew every student cares about and can relate to. This assignment taught me how to distill a massive amount of information down into a short coverage from a specific angle. This was a good way to learn how to manage an hour’s worth of spoken info and create something cohesive and informative.

This is an essay I wrote reviewing French heritage genre film Fanny’s Journey. I analyzed the aspects of the film that make it fit within the heritage genre, and how it was received by the world. This paper shows my ability to write in a longer form with more detail, giving me the opportunity to expand on my ideas and add opinion.

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By Laari Ruby
Feb. 20, 2024

Winner of the 2023 UGA Venture Prize Competition competition Valeria Brenner, owner of Thryft Ship, holds her first place prize check, Feb. 16 2023.  The annual competition is scheduled to take place again on February 22.. (Photo/Terry College of Business)

The UGA Venture Prize Competition, scheduled for this Thursday, gives students the opportunity to pitch their business idea to a panel of judges for the chance to win up to $10,000. 

The competition, supported by the UGA Entrepreneurship Program and sponsored by Floor & Decor, allows students to practice pitching a business idea and convince an audience it can be successful. 

According to the website, the UGA Entrepreneurship Program works to create an entrepreneurial mindset in students by providing comprehensive academic courses and experiential learning opportunities such as the Venture Prize Competition. 10 groups are competing this year, including existing businesses such as Detail Dawgs, Ox Sox, and Fire Truck Rentals of Atlanta. This year’s competition will feature pitches from businesses using AI technologies and planning expansion projects. 

Laari Ruby on Twitter: “The first pitch begins at 5:42 by Sean Snarey for his business TLS. The mission of the company is to revolutionize the poultry industry through technological advancements and use of artificial intelligence. / Twitter”

The first pitch begins at 5:42 by Sean Snarey for his business TLS. The mission of the company is to revolutionize the poultry industry through technological advancements and use of artificial intelligence.

“Every student would say it’s an opportunity… It’s getting them out of their comfort zone and getting them more comfortable speaking in front of groups,” said Bob Pinckney, director of entrepreneurship at Terry College of Business.

Judges of the competition are looking for a viable business plan that has potential to scale up, and whether the $10,000 prize money will impact the business plan in the long term. The pitch that places second will receive $5,000 and third place will receive $2,500. 

Laari Ruby on Twitter: “Judge Justin Ernest described the decision-making process for the winner, saying “There’s really two qualifications. Is the business viable and can it scale? Then number two what do you use $10,000 for and will the $10,000 make a big dent in the business plan in the long term?” / Twitter”

Judge Justin Ernest described the decision-making process for the winner, saying “There’s really two qualifications. Is the business viable and can it scale? Then number two what do you use $10,000 for and will the $10,000 make a big dent in the business plan in the long term?”

Last year’s winner, Valeria Brenner, won with her company Thryft Ship. Brenner used the $10,000 prize to expand Thryft Ship’s operation and launch a premium subscription feature, which was detailed in the pitch. 

Thryft Ship is far from the only business that began in the entrepreneurial program that has become and remained successful. Pickney said 55 to 60 percent of companies that win a competition through the entrepreneurship program remain in business five years later. 

The competition takes place 5:30 -8:30 p.m. in Studio 225. Students of all majors and focuses are welcome to attend. 

Why I wrote this story

This story was relevant to the business beat because it covered UGA students with existing businesses in the area or students with ideas who are looking for funding. This assignment taught me how to research and cover and event live, while also preparing for interviews with only 10 minutes to do so. This was a great way to learn how to manage multiple deadlines in a few days and write quickly.