Bu Prani: The Strength of a Mother Amid the Storm of Social Media

 The Indonesian film Budi Pekerti, directed by Wregas Bhanuteja, introduces audiences to Bu Prani, a guidance counselor from Yogyakarta whose peaceful life is torn apart after a short video of her goes viral online. Portrayed brilliantly by Sha Ine Febriyanti, Bu Prani embodies the struggle of a woman trying to preserve her dignity in an unforgiving digital age. The story begins with a misunderstanding at a traditional market, an argument captured on a phone camera that spreads rapidly without context. Within hours, the internet becomes her courtroom. People she never met judge her character through a few seconds of footage. Yet Budi Pekerti does more than expose the cruelty of virality; it reveals the emotional layers of a mother caught between moral principles, family responsibility, and the heavy weight of public opinion.

As a school counselor, Bu Prani is known for her firm yet nurturing approach. She teaches her students about respect, empathy, and responsible behavior online lessons that ironically come to test her own resilience. When the digital storm hits, those values become both her shield and her burden. The film portrays her as deeply human: capable of anger, confusion, and fear, but also grace and compassion. Through calm cinematography and honest dialogue, viewers witness how a woman devoted to teaching kindness becomes a target of collective outrage. Bu Prani is not a flawless hero; she is every mother navigating mistakes while trying to stand tall for her children and her principles.

Yogyakarta’s charm—its morning mist, narrow alleys, and humble markets contrasts beautifully with the emotional turbulence that follows Bu Prani. The city, usually serene, turns suffocating as gossip echoes from screens to streets. The film captures this tension with quiet precision: the once lively family dining table turns silent, school hallways feel heavier, and the glow of a smartphone becomes both a comfort and a curse. Every scene unfolds like a slice of real life, immersing the audience in Bu Prani’s psychological journey. Behind her calm eyes lies the unspoken fear of a mother trying to shield her children from a stigma that refuses to fade. Through her story, Budi Pekerti reminds us that behind every viral post stands a real human being whose pain doesn’t trend but lingers.

What makes Bu Prani unforgettable is not her suffering, but her endurance. Even as she faces online humiliation and social isolation, she remains gentle with her family. Her words to her children to stay truthful and never respond to hatred with hatred carry profound resonance. Her quiet strength becomes an act of resistance against the noise of the crowd. This is where the film’s human-interest core shines: it’s not just about an event, but about empathy. Through vivid storytelling, Budi Pekerti transforms an ordinary woman into a symbol of quiet courage. In a world obsessed with appearances, Bu Prani’s integrity becomes her only weapon.

In the end, Budi Pekerti serves as both a mirror and a lesson for the digital generation. Wregas Bhanuteja uses Bu Prani’s story to question how easily society confuses morality with perception. A single clip can destroy a reputation, yet it cannot erase one’s humanity. Bu Prani stands for countless mothers who continue to do good while being misunderstood by a judgmental world. Her journey invites readers and viewers alike to reflect on empathy, digital ethics, and the essence of true decency. When the noise of the internet fades, Bu Prani remains calm, dignified, and strong. Because genuine budi pekerti is not found in perfection, but in the quiet grace of those who choose kindness when the world turns cruel.

Heartbreak: Indonesia Fall to Vietnam in AFF U-23 Final

 Indonesia’s U-23 national team came heartbreakingly close to winning the 2025 AFF U-23 Championship but ultimately fell 0–1 to Vietnam in the final at Gelora Bung Karno Stadium, Jakarta. Despite carrying momentum from an unbeaten run in the group and knockout stages, Garuda Muda couldn’t find a way past Vietnam’s disciplined defense. The only goal of the match came in the 37th minute when Nguyễn Công Phương capitalized on a loose ball from a corner, silencing a crowd of over 35,000 fans. Indonesia dominated possession but lacked the final touch.

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The tournament had started brightly for Indonesia. They dismantled Brunei 8–0 in their opening match, with Jens Raven scoring an astonishing six goals. They followed that with a narrow 1–0 win over the Philippines and a goalless draw against Malaysia to top Group A. The semifinal against Thailand was a dramatic affair trailing early, Raven’s equalizer pushed the match into extra time, and Indonesia eventually triumphed 7–6 in a penalty shootout thanks to goalkeeper Muhammad Ardiansyah’s crucial saves. The final, however, proved a tougher challenge.

Key players Arkhan Fikri and Toni Firmansyah were unavailable from the start due to fitness issues, robbing Indonesia of midfield creativity. Arkhan’s late entry in the second half couldn’t shift the momentum. Tactically, the decision to deploy three central defenders offered little attacking variation, and Vietnam remained compact until the final whistle. For all of Indonesia’s energy and control, real chances were few and far between.

Minister of Youth and Sports Dito Ariotedjo praised the team’s spirit but emphasized the need for sharper preparation ahead of September’s AFC U-23 Asian Cup qualifiers and the SEA Games in December. Coach Gerald Vanenburg confirmed he would not continue with the team for the SEA Games, ending his tenure after a mixed campaign. Despite the loss, the tournament revealed both promise and gaps: strong individual performances but lingering issues in squad depth and tactical consistency.

Vietnam’s win marks their third consecutive AFF U-23 title and further fuels one of Southeast Asia’s most intense football rivalries. For Indonesia, the dream is still alive—delayed, not denied. The team now turns to the next challenge, carrying lessons from this defeat and the belief that with growth and grit, their time will come.

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When Students Start Asking Why: How Metalinguistic Awareness Begins

     When we think of English class, most of us probably imagine reading, writing, or speaking exercises that follow predictable patterns. But in one junior high school classroom in Tangerang, something else started to happen something subtle, often overlooked, yet deeply important. It’s called metalinguistic awareness, and it quietly shapes how students learn, reflect, and grow as language users. At first glance, metalinguistic awareness might sound like a complex academic term. But it’s actually quite simple. It refers to the ability to think about language not just use it. When students start asking, “Is this sentence correct?” or “Why do we say it this way in English but not in Indonesian?” they’re doing more than practicing English. They’re reflecting on how language works. And that reflection is the key.

In this research, students were not given grammar lectures or worksheets. Instead, they were asked to engage in discussion-based learning. Through group conversations about English texts, students naturally stumbled upon questions of structure, word choice, and meaning. Some paused mid-sentence to correct themselves. Others asked their peers why certain phrases sounded wrong. These moments, though spontaneous, are signs of emerging metalinguistic awareness. What makes this classroom different is the environment. The teacher didn’t just ask for right or wrong answers but encouraged open discussion where curiosity led the way. This allowed students to go beyond using English to actually noticing English its forms, its functions, and its quirks.

Research has shown that Indonesian students often struggle with grammar and structure, even in higher education. They might use writing tools like Grammarly, but that doesn’t mean they’re truly aware of why corrections happen. This study wanted to zoom in earlier, at the junior high level, and see how reflection could naturally arise in a more interactive setting. And it worked. Students didn’t just speak; they listened, questioned, and adjusted. Their awareness wasn’t forced it emerged. The setting also mattered. The school, SMP Muhammadiyah 4 Tangerang, was chosen because of its engaged eighth-grade students. The researcher had previous internship experience there, which built trust and made it easier to observe students in their natural classroom rhythm. What’s interesting is that even without formal instruction in linguistic theory, these young learners showed signs of higher-level thinking just by talking with one another.

The findings suggest something powerful: that metalinguistic awareness doesn’t always need direct instruction. It can be cultivated through classroom design that encourages active listening, collaboration, and self-expression. For teachers, this is a reminder to make space for reflection in their classrooms. For students, it’s a chance to become not just better English speakers but better thinkers. Language isn’t only about fluency. It’s about awareness. And sometimes, the best way to build that awareness is not through rules and drills but through simple, meaningful conversation.

Between Giraffes and Ghost Lines: What Writing About Poetry Taught Me

 Writing about poetry is never just about poetry. It’s about listening closely line by line, breath by breath until something clicks, or at least begins to take shape. That’s exactly what I felt while working on my article about Judith Beveridge’s The Domesticity of Giraffes. What began as a project to compare two translations, one by Sapardi Djoko Damono and the other by ChatGPT, quickly became something much more personal, more difficult, and oddly enough, more enjoyable than I expected.

I chose this particular poem not just because it’s beautifully written, but because it stands out as one of Beveridge’s most celebrated works. The Domesticity of Giraffes received major literary awards in 1988, including the Mary Gilmore Award and the New South Wales Premier’s Literary Award. That kind of recognition told me one thing: this poem matters. And the more I read it, the more I understood why. It’s quiet but intense, strange but familiar. It speaks of captivity, longing, and memory and does so through the eyes of a giraffe. That mix of tenderness and wildness made me want to stay with the poem longer, to see what would happen if I peeled back the language layer by layer.

Judith Beveridge herself is a name that deserves attention. Born in London in 1956 and raised in Australia, she’s not just a poet but also an editor and academic who has played a huge role in shaping modern Australian poetry. Her works often explore the delicate tension between nature, spirituality, and the inner world. What struck me most is her ability to avoid personal confessions in favor of imagined voices—animals, strangers, unknown narrators which paradoxically make the poems feel even more human. That ability is what makes The Domesticity of Giraffes so rich to analyze. It’s not a story about Judith. It’s a story about something bigger perhaps about all of us.

But writing the article wasn’t easy. Translating poetry is like carrying water with your hands: something always slips through. I found myself agonizing over how to explain a single word choice or why one version of a line felt flatter than another. Comparing Sapardi’s interpretation, a seasoned poet who knows when to bend language, with ChatGPT’s more literal, sometimes robotic take, made me question the role of intention, intuition, and even emotion in translation. Is it enough to preserve meaning? Or should we also preserve feeling?

Still, despite the confusion, the rewrites, and the late-night frustration, I found joy in the process. There’s a certain satisfaction in wrestling with ambiguity, in catching the subtle beauty of a metaphor, or in realizing why Beveridge chose to describe loneliness "like smoke." You start the paper trying to explain a poem. Somewhere along the way, the poem explains something about you.

Looking back, this was more than just an academic task. It was a chance to slow down and really listen to Beveridge’s voice, to the giraffe’s silence, and to my own uncertain, curious thoughts. That’s the strange gift of poetry: it makes you work for every inch of meaning, but it always gives something back.

One Star, A Thousand Reactions

Sleman, An incident involving a ShopeeFood driver and a customer in Sleman, Yogyakarta, went viral and attracted public attention, especially from the online motorcycle taxi community. The incident occurred on Friday night, July 5, 2025, in the Griya Nadhira Housing area, Trihanggo, Gamping. According to reports from the police and the media, the incident started from a food order delivered by a ShopeeFood driver to a customer with the initials AAP. After receiving the order, the customer gives the driver a one-star rating, which is considered a form of dissatisfaction because the delivery is considered slow.

The one-star award apparently triggered an argument between the driver and the customer. The two were involved in a fight in front of AAP's house, and the situation was later recorded and spread on social media. In the viral video, a tense atmosphere can be seen between the two sides, although it does not explicitly show an act of physical violence. However, the narrative that developed on social media called for violent actions, so many other ojol drivers were called to come to the location.

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Hundreds of ShopeeFood drivers and other online motorcycle taxis gathered in front of the customer's house at night as a form of solidarity. The crowd that attended had filled the residential area to make local residents feel uneasy. Police from the Gamping Police immediately intervened to defuse the situation and secure the perpetrators so that there would be no vigilante acts. The Gamping Police Chief, Kompol Rudy Prabowo, explained that his party had secured the AAP for further information. Until now, there has been no official report from the victim regarding the alleged abuse. The police also emphasized that the legal process will run according to the rules and appealed to the public not to be provoked by emotions over information on social media that is not necessarily accurate.

The police added that ratings or stars in food delivery services are part of the digital evaluation system and should not cause open conflicts. In case of a misunderstanding between the driver and the customer, it should be resolved amicably or through the service provider's official platform.

 

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This incident shows how sensitive the interaction between customers and drivers can be in online service systems. Things like ratings or complaints can have a big impact on drivers who rely on their digital performance to make ends meet. However, emotional action is not a solution either. The public is urged to respond to this kind of incident with a cool head. Both customers and drivers need to prioritize good communication, as well as resolve problems through official channels. Excessive acts of solidarity can actually trigger an unconducive situation, especially if it spreads through unverified narratives.

 

Why Indonesian Horror Needs More Than Just Ghosts and Screams

 

In recent years, Indonesian horror has gained more spotlight than ever, both at home and abroad. But with that visibility comes a big question: is the genre actually evolving or just becoming louder and more marketable? For every film that genuinely chills and challenges, there seems to be a wave of others that rely on the same recycled elements: dim lighting, sudden screams, shallow plot twists, and the occasional religious undertone thrown in for effect. The horror genre in Indonesia isn’t dying, but it is, in many ways, stalling.

Let’s be honest: horror has always been a safe bet in Indonesian cinema. It sells. It doesn’t need big stars, doesn’t require elaborate sets, and often doesn't even need a strong script. As long as there’s a ghost with long hair and a cursed object, the formula “works.” The problem is, audiences are changing, but the industry’s willingness to challenge them isn’t always keeping up. Many horror films today feel more like content than cinema. They exist to trend, not to linger. You leave the theater scared, maybe, but rarely moved. You forget the story as soon as the credits roll.

This is not to say there aren’t great horror films being made. There are. But the problem lies in the balance. For every title that dares to dig into psychological fear or cultural folklore in a meaningful way, there are five others that simply copy whatever made the last horror hit successful. The industry's dependence on quantity churning out sequels, prequels, and spinoffs—has led to a kind of creative fatigue. It’s no longer about crafting a good story but about how many jump scares you can pack into 90 minutes.

That said, horror still holds unique potential in Indonesia. We are a country full of myth, superstition, and spiritual texture. Horror should be our most powerful genre. It should be a mirror of our fears—not just of ghosts, but of trauma, history, society, and belief. And when done right, it is. Horror can say things that other genres can’t. It can explore buried guilt, collective memory, and the dark side of tradition without feeling preachy. But too often, that opportunity is wasted for a cheap thrill.

What’s encouraging is that a more discerning audience is slowly emerging. Viewers today are not just looking for scares, they’re looking for stories. This should push filmmakers to move beyond formula. It’s no longer enough to rely on a creepy score and a demonic possession subplot. The audience wants horror that feels real emotionally, culturally, and thematically.

So where does Indonesian horror go from here? It can go two ways. It can either keep chasing viral trends and fast box office numbers, or it can take the harder, more meaningful road: investing in originality, trusting in slower stories, and embracing the full depth of our haunted imagination. The demand is there. The audience is ready. All that's left is for the storytellers to trust us and themselves more.

KKN: Classrooms Change Villages

Entering the sixth semester, students are faced with a phase that not only demands academic readiness but also mental and social readiness. One of the turning points in the college journey was the preparation to go directly to the field, undergoing a service activity known as Real Work Lecture (KKN). Although the name sounds formal, the reality behind the preparation of the KKN is more than just preparing a proposal or waiting for the division of groups. It brings with it a mixture of emotions that are not simple: enthusiasm, worry, hope, and exhaustion.

For some students, community service is a space to get out of the classroom routine, explore the dynamics of real society, and test the extent to which the knowledge that has been learned can be useful outside of campus. But on the other hand, KKN also raises its own anxiety. Many are starting to question whether they are prepared enough, whether they can adapt to a completely new environment, or even how to deal with group dynamics that don't necessarily go smoothly. Preparation is not only a matter of material or schedule but also a matter of mentally arranging to remain stable in facing unexpected challenges.

During this preparation period, sixth-semester students are also often faced with boredom. The final semester assignments go hand in hand with meetings, coordination, and various administrative preparations that sometimes feel complicated and tiring. It is not uncommon to feel like giving up, or at least wonder if all of this is really worth it. But behind that fatigue, there was also a sense of pride that was slowly growing that they were preparing to do something bigger than themselves.

With the introduction of KKN, the mood of students can change. Some are excited because they imagine the new experience they will get, while others are secretly worried about leaving their comfort zone. All of these reactions are natural, because basically KKN is not only about contributing to society but also about character formation and maturity. In the process, students learn more about cooperation, cross-cultural communication, and even learn about themselves in conditions far from campus routines.

KKN will not only leave traces on report sheets or graduation certificates. He or she will also leave a story about the laughter that comes from putting together a work program, about the tiring nights of meetings, or about the emotional feeling of being there when their presence really means something to others. All the preparation processes that now feel heavy will eventually become part of the mosaic of experiences that shape students into more complete individuals.

Grow a Garden: A Digital Healing Space for Students Who Are Overwhelmed by Assignments

 

In the midst of a heavy academic load, especially for final-year students, the need to maintain mental health is very important. Monotonous routines, task deadline pressures, and thesis burdens often make your head feel full. In such conditions, the emergence of the Grow a Garden game on the Roblox platform has become a refreshing virtual oasis. Officially released on March 26, 2025, Grow a Garden comes as a gardening simulation game that offers tranquility in the form of simple interactions: planting, watering, harvesting, and decorating the garden. With no competitive elements or target pressure, it's really designed to be played casually, and that's what makes it so well suited as a refreshing tool, especially for mentally exhausted college students.

Unlike most games that rely on speed or intensive strategy, Grow a Garden actually carries a calming, slow-paced concept. Players can enjoy playtime at their own pace. The soft background music, bright visuals, and simple gameplay mechanics make the game feel like a digital meditation session. In the demanding academic world, playing this game for just 15–30 minutes is enough to restore clarity of mind and improve mood. It's no surprise that more and more college students and general users are playing this game as a way to release stress.

The popularity of Grow a Garden has grown rapidly in just a few months since its release. From late May to early June 2025, the game recorded a record of up to 21 million players online simultaneously, making it one of the most popular Roblox games in a short period of time. This figure even surpasses other big games such as Fortnite and Counter-Strike 2, proving that even calm can be a very strong attraction in the gaming world. This trend shows that games with a relaxed and emotionally safe feel are indeed needed by many people, including students.

In addition to its soothing gameplay, Grow a Garden is also constantly updated, such as in the Blood Moon, Bizzy Bees, and Mega Summer Harvest events. This update adds variety without changing the game's main essence: comfort and relaxation. The presence of features such as mutated plants, cute pets, and garden decorations enriches the play experience without creating new pressure. This further strengthens Grow a Garden's role as a digital healing place worth considering.

For final semester students who are often faced with phases of mental fatigue and burnout, Grow a Garden is not just a game but also a means of self-care. With flexible playtime and a friendly atmosphere, this game gives you room to breathe in the midst of a busy schedule. In a world that demands relentless productivity, the existence of this soothing virtual park serves as a reminder that pauses are important, too, and that keeping sanity can start with the small, fun things.

Hilarious for Kids, But What’s the Impact?

    In recent weeks, TikTok has been flooded with a bizarre new trend known as "anomaly content." These videos feature chaotic memes, distorted audio, and absurd fictional characters with strange names, such as Tung Tung Tung Sahur, Tralalero Tralala , and Brr Brr Patapim. While these clips may seem harmless and funny at first, experts are now raising concerns about their potential effects, particularly on younger audiences.

According to Kompas Lifestyle, many parents have begun to worry after noticing that their children constantly imitate the speech patterns and gestures of these characters. Although the content is not overtly violent or sexual, one psychologist explains that it may impact how children perceive logic and reality. Children are still developing their ability to distinguish fantasy from reality, and repeated exposure to absurd humor could interfere with their communication and reasoning skills.

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Mommies Daily points out that some children have begun using phrases from these strange videos in their everyday conversations, even with their teachers and parents. This can cause confusion and is sometimes considered inappropriate behavior. Furthermore, this trend is creating a sort of "in group language" among kids who follow it, which makes others who aren't on TikTok feel left out or alienated.

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Another troubling aspect is the shift in entertainment standards. DetikPop reports that hashtags related to anomaly content have received tens of millions of views, and some content creators have gained sudden fame by pushing the limits of absurdity. Many use extreme visual effects and strange character backstories simply to grab attention. This raises concerns that children may begin to view incoherent or chaotic content as the entertainment standard, potentially reducing their attention spans and focus.

However, not all experts agree that this type of content is entirely harmful. Some argue that absurd humor can serve as a creative outlet or a form of emotional relief for children. There’s just one catch: it requires guidance. Without adult supervision or context, children may take the content too literally or imitate it without understanding its purpose.

The "anomaly" trend on TikTok is undeniably creative and humorous. It's a hit with young people because it defies all logic. But like a lot of digital trends, it's got some potential risks, especially in how it shapes how kids think, communicate, and behave socially.

Parents are encouraged to have open conversations with their kids about what they watch online. Instead of banning TikTok altogether, it's better to watch it together, talk about it, and help kids figure out what's real, what's satire, and what's just for fun. Schools might also want to consider adding media literacy education to teach students how to critically evaluate the content they consume.

Anomaly content can be chaotic, but with the right guidance, it doesn't have to be.

“Planted Contestant” Allegation: When Talent Isn’t Enough

    The most recent season of Indonesian Idol XIII caused many people to speak out against and support one of the Top 3 finalists, Mesa Hira. Mesa caught the audience’s attention because of her powerful, rocky singing early in the show. At the time, her unique acting style stood out, together with a rising online accusation that she was not a real candidate on the show.

The controversy grew after public figure Dessy Paramita said that Mesa might have appeared on the show because influential insiders had chosen her. Within hours, the photo caused a lot of talk online about Mesa’s background and led many people to perform internet investigations. Many netizens stated that since Joyce was part of an entertainment insider family, there must have been a connection to production industry experts even though proof was never found.

Information from Radar Mojokerto pointed out the strong expressions of upset over the internet. Various experts debated whether Mesa’s original vocals would appeal widely to music fans. Other critics said she was unsuited for competing in the field. People left comments online both questioning her singing and directing personal insults at her.

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Mesa was included in the final grouping of the competition but was eventually eliminated. However, many people on the internet instead feel satisfied, saying justice was carried out. In contrast, people said the way the mainstream media and online hate treated her might have given her an unfair advantage during her journey.

According to Sketsa Nusantara, Dessy Paramita admitted making the first accusation, though she said it was an expression of public opinion rather than her own experience. The explanation did little to solve the crisis. Before that, Mesa had weathered a lot of criticism, and her family found themselves drawn into the media for reasons they couldn’t understand.

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Later, Tribun Bengkulu revealed that Mesa’s family was trending online, while investigations showed neither the producers nor the judges involved with them. The fact that her family was attacked increased the worry and made people wonder where the line should be drawn in online statements.

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Mesa Hira’s experience points out how social media can be both helpful and harmful. On the positive side, it supports self-made fame, but it makes it easy for stars to be accused of things that aren’t true, based only on rumors. In singing after others from her culture, she found her uniqueness was used as a way to criticize her instead of admire it.

We should remember, as Mesa Hira’s case shows, that focusing on effort and talent is fairer than suspecting someone of dishonesty. People and their families can be greatly disturbed by allegations that are not supported. Today, since information can spread so quickly online, we should be more careful about what we share and say. Let’s take a minute to be more considerate, more understanding, and understand that every public figure is dealing with real challenges in their own life.

The Station Looks Like a Sea of People During Rush Hour

    Jakarta, being Indonesia’s capital, depends on its rail commuter network. Nevertheless, some train stations are busier than others. From discussions I have read on Quora, it is obvious that people believe some stations are very crowded and others are very calm.

Many of the users reported that Tanah Abang Station had the most people. Due to being both near the border and a place passengers pass through, it’s usually very crowded. A comment suggests that Tanah Abang turns into a crowded place every morning and evening. It is difficult to go anywhere if you have to lug around things with you. Reports about Manggarai Station were also common. As tourism increases, Banff continues to get busier. A person commented that things have gotten really disorganized since Manggarai became a central station. The process of getting on or off the train is like an endless maze. Sudirman and Duri were often noted in travel guidelines mainly because they acted as stops for various subway lines to meet.

On the other hand, there were several quieter stations, including Cikini and Sawah Besar. "I prefer using Cikini. It's more relaxed, and it's not stressful," said one resident. Others said Kemayoran and Rajawali are underutilized, often because of their less strategic locations. When the stations are packed, it can be a real problem. A lot of people who commute say they're late for work, school, or college because the trains are so crowded and there aren't enough seats. Another serious concern is safety. "When it's packed, it's hard to pay attention. Pickpockets can easily strike," noted one person. Some users even avoid commuting during peak hours altogether because of the stress involved, which affects their overall productivity and mental well-being.

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Most of the feedback was helpful. People were saying all the time that more trains should run during rush hour and that they should put more staff on to control the crowds. "If there were more officers to sort out the lines, it'd be way smoother," said one commuter. There were also calls for better platform and exit/entry flow design and for commuter education campaigns to encourage orderly movement and greater awareness.

Train stations in Jakarta are a huge part of daily life, but as a lot of people have said on Quora, overcrowding is a growing concern. It's not just a nuisance—it messes with your schedule, safety, and overall quality of life. The authorities and rail operators need to step up their game and make improvements to make sure public transportation remains accessible, efficient, and humane for everyone.