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[S1E2] Don't Ask Me Why



Andy will then start up the electric fence and try to push Lee into it. Struggle against Andy by mashing the correct button. If you have a good relationship with Lilly at this point, she will appear and shoot Andy. If you don't, she will leave Lee to die and he will fight Andy off by hitting him at the last second.




[S1E2] Don't Ask Me Why



Olaedo Osoka: Thank you so much for that question. I think we're still in day one, of the growth of the sector. And so, there are vast opportunities from a technical perspective, but also even if you don't have a stem background, there are still other opportunities. On the technical side, there are opportunities to work in or provide a service for building solar plants or for instance, providing tech or monitoring services that allow companies to predict weather, to review performance and to even prompt maintenance. So that's on the tech side. But if you don't have a tech background or a STEM background, you don't need to fret. I think there are still opportunities, in actually selling the solar plants. But also if you have a legal background, you can offer legal services. There's a finance aspect to it. There's a place for working in HR and providing HR services as well. And from an operations perspective as well, right? How do you put together logistics, procurements, timely delivery and deployment of the solution? Every aspect of the value chain, there are opportunities for entrepreneurs, but also for women looking to start a career. And I think this a new industry, we are looking for talent, just actually reach out and ask, reach out on LinkedIn and ask and connect.


Olaedo Osoka: We for sure don't have enough women in the pipeline and we have a responsibility to build a pipeline so, what does that take? It takes a couple of things. The first is actually going further ahead into that pipeline to show women who they could be and what the opportunities are. So, if we're realizing that women aren't applying, we need to go further into university perhaps, but actually even up to the secondary school levels and say, look, this is what you could be, this is how much you could be earning, these are other people that have done it. Because historically, the image that has been cemented in people's minds is of men on roofs, is of men holding instruments and doing these technical roles. So we need to work really hard to change that imagery. And I think the other thing beyond changing the imagery and showing positive pictures, is actually creating the opportunities.


Olaedo Osoka: If I could pick one thing to say, I think it would be, reach for the sky and know that you will need to fly if you reach for the sky. What I mean by that is, don't limit yourself to the value you can bring and to what you can achieve. And in doing so, you need to do the work. When you do the work, when you invest the time to learn the craft to form your skill, you will become confident, but you will need to work hard and not run away from pressure.


Olaedo Osoka: Hmm. Gosh, I'm so comfortable to say that I cannot paint a clear picture on what the next five years will look like. And I actually don't feel the need to. If you asked me five years ago today, I couldn't possibly have imagined it. So I think the things I can say for sure is that I want to remain a dreamer and the things I do dream about transcend time. And so the next five years, who will I be? What would I be doing? I will continuously be learning. That's who I am. I'm curious. I wanna learn more. I will be climbing new mountains. There's so much more territory to take. They're more problems to tackle in sustainability. I will be helping other women climb in their careers, but actually also in their finances. So as you're evolving in your career, how do you make sure you are building something for yourself that transcends time? I'm super passionate about that. And the last thing I think that you can expect to see is I wanna take Africa to the world. Historically, the global north has come south, but I actually wanna see more products and services supplied by Africa to the rest of the world. But beyond this, I say, stay tuned and watch and see what happens.


Olaedo Osoka: I mean, it's helpful to start by giving context. There are around 1.1 billion people in sub-Saharan Africa. And millions of people still don't have access to electricity. And if we zoom in a bit on the population, 60 percent of our population is under the age of 25. We are the world's youngest continent. Ultimately, our young demographic is a super power that we need to be tapping into. If we zoom into that further, 50 percent of our population are women. So if I think about what the future of energy looks like on the continent, I think about the brilliant women that are gonna be leading the energy future. And that future is actually here starting right now.


First, we might be able to forgive the show trying to convince us that the 65-year-old Costner is up for taming a wild stallion. After all, he's the hero, and if we don't buy the conceit that Dutton is an extraordinary cowboy, we may as well not watch the show at all. Still, it's hard not to notice how artfully the show hides the fact that, whoever the cowboy is who's riding that bucking bronco, it sure ain't Kevin Costner. In fact, when it cuts back to Costner's Dutton, he isn't even breathing hard. Oh well, John Wayne didn't break a sweat all that often, either.


Hanging over the episode is the specter of Dutton's wife, who died years before. Beth mentions that "Kayce was her favorite, and we promised to protect him," while we get a glimpse of her twice, first in framed photograph on the wall of Beth's bedroom, and secondly in Dutton's hands as he sits by the fire and broods. We don't know what happened to her, but we can assume it isn't pretty. And it's clear that Beth, in her darker moments, feels poorly about it.


As for the witness front, getting the boy's father to silence him might not be enough if the boy is sufficiently religious to think that God might have a say in it. To that end Dutton enlists Father Bob to give a special sermon that might move the boy to keep quiet about Kayce. "I'm calling old debts, Bob. And you owe me a big one." I don't know if we'll find out how Bob ended up indebted to Dutton, but I think that, knowing what we do about the kinds of trouble that Catholic Priests sometimes get themselves into, the suggestion is almost profoundly unsavory. And again, it makes you wonder if we're supposed to like Dutton, admire him, or regret the monster he's become.


Which is why it is utterly preposterous when the tribal police chief arrives and suggests that Kayce and the man switch slides on their guns (they happen to use the same model). This means that Team Broken Rock have in their possession the slide that killed Robert Long - I don't know how that'll come into play, but it seems like it could be a great boon for them. Or else it's a plot contrivance of the highest degree of silliness. Can you imagine a police officer suggesting that you switch pistol parts with him? I think that wouldn't exactly work out for either party. But we'll have to wait and see. In the meantime, we can think about how ridiculous it is that Kayce and Monica happened to be driving by at just the right time.


However, I don't think that Dances With Wolves's John Dunbar, who was a pretty moral kind of guy and not given to murder and lying if he could help it, would make much of Yellowstone's John Dutton. In fact, he might be just the sort of thing he detested.


Thomas, Kayce and other tribe members are sitting and standing around a fire preparing for a sweat. Thomas starts talking about fathers and sons, about how babies look like their fathers when they are born. Thomas goes on to say that all men are bad, but some of them try hard to be good. He speaks of the sweat ceremony and what you see as a map of the future, saying "The good things about maps is if you don't like the path you are on, you can always choose another."


W: I don't know what that place is now, I only know then. It was beautiful. The green surrounds you and the air was ... there was nothing around for miles. You could walk to everything in town and everything in town was part of the compensation. No money was exchanged, there was no money at all, anywhere. I liked Tuesdays because they played older films at the theater. The Little Foxes, City Lights, Double Indemnity. The business day coincided with school so we could all walk our kids home in the evenings. We didn't lock our doors.


W: This is the first day I see. I am emptying trashcans at the desks. They don't notice me, or they don't care. As I watch, the man in the room on the right end furiously draws something on a large sheet of paper pinned to the wall. I can't see what he's drawing. ... The man in the room on the left end sits in a chair. I'm close enough to know it's him, the one my husband and his friends are all here for. I stand here in the middle of the room in the dark for ten minutes. The man on one end draws and the other doesn't move. I leave. The next night I am here again. The man drawing is different. It's a woman, in fact, but everything else is the same. I try to stay longer this time but nothing changes. The next night, it is the same. Different person drawing, same man sitting. It's happened several times. And then ... there was that night. I'm here, there's a different person drawing and the man who sits is not sitting, he is now drawing too. This is not the only odd thing, though. It takes me a few minutes to notice, but then I realized their movements are the same. There is fifty feet of difference between the men, but I can see them both from where I stand. I can't get closer. I shouldn't even be here. I'll come back later at the end of my shift. I stand in the room where The Man We're All Here For was drawing. His drawing is here on the wall. It's a still life of a bowl of fruit. It's drawn in black. I am now standing in the room where the other man was drawing. His drawing is here on the wall. It's a still life of a bowl of fruit. It's drawn in blue, but everything else between the two drawings is exactly the same. I go back and forth between the rooms. Finally, I remove the paper from the wall and I place one drawing on top of the other. They're identical in every single way, including the mistakes. I do not believe this. I placed the drawing back on the wall and I leave. I returned every night for the next ten days. The person drawing changes. The results are the same. I searched the rooms for any possible connection between the two: cameras, secret openings, anything. The rooms are four walls and a doorway. I cannot explain what is happening, so I talk to the man who lives in the house with me. He gets quiet. His face flushes. He tells me I can't work there anymore. He'll see that I am given another job. We fight about this. I ask him, "What makes The Man They're All Here For so special?" I need to hear him say it. He does not say it. I could tell he is afraid, but this only makes me angrier. The next night when I return to desks in the drawing rooms, the only light comes from the room where the man sits. I watch him from a distance in the dark. Then he turns his gaze to me. He sees me. I wanna hide, but I can't. I can't move. Then he speaks to me. I am watching as he speaks to me, but he -- he does not open his mouth. I am at least thirty feet from him, but I hear his voice like he is standing next to me. He speaks the name of the young girl in my house. He says, "I need to take care of her now. That I have seen what I need to see." Thanks me, I leave. I run. I hold the girl in her bed as she sleeps and as I hold her, calm grows over me. I understand. ... You have what you need to understand. 041b061a72


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