#Limit of detection

[ccitusa]

Conducting feasibility studies for package testing is a critical step in validating the effectiveness of packaging systems. These studies assess whether the chosen testing methods and equipment can accurately and reliably detect potential issues, such as leaks, contamination, or physical damage. Check out our video to learn about the role of feasibility studies in testing package quality.

[procyoren]

Gay Mice.png

[mercuryspit]

I wasn’t going to originally share this but I thought I would since I think the people would like to know these answers SO

I got a cameo/gameoden from George and Jayden and asked about Charles’ protectiveness and how Edwin felt about it, and also the chemistry between Edwin and Charles!!

I don’t mind if you repost this anywhere just make sure to link back to this post and/or me but yeah hope you all enjoyyy (also, Jayden asks where I’m from, unfortunately the very boring answer is I’m American LMAO)

ID/CAPTIONS UNDER THE CUT

[Jayden Revri and George Rexstrew in front of Dead Boy Detectives themed decoration speaking to the camera.

“new request just in from Ringo, absolutely love that name— I’d love to know where you’re from, by the way. You have said ‘was Charles’ instant protectiveness instinctual or did it develop over time?’. No, I think it is instinctual, I think you know, with what was going on at home I think he had a massive protective feeling over his mum. And I think that just kind of carried on. I mean you can tell from the way that he was protecting that boy hence the reason why he died, you know, that boy was the same color as him. He didn’t feel as though that boy should’ve been beaten up because of his race and that protectiveness was there from the get go I think. ‘How did Edwin feel having someone care for him like that’ I think he was extremely— well, probably a little thrown off kilter at first because he probably isn’t used to that level of affection and care. I think he was ultimately very moved by it and it’s one of the reasons why he does feel so connected to Charles. ‘Did the boys’ physical/emotional harmony come naturally? Was the way one picks up where the other leaves off intentional?’, No, to be honest, I think it’s just because of us to be fair. I think mine and George’s physical and emotional harmony run very parallel with each other. We pretty much share one brain. Like for example, when we were filming the pilot just kind of by chance Jayden and I would do this simultaneous— George and Jayden look at each other— and then suddenly down the series they’re saying do the Edwin and Charles look! And we’re like huh? the Edwin and Charles look?? But, thank you for your great questions, Ringo, I hope they satisfied you. Thank you for loving the show, thank you for requesting a cameo, and have a great rest of your week! Bye Ringo! End of ID.]

[tragedy-machine]

[gundamthey17]

i know Edwin is proper Old, but like. Charles has been on earth for well over 40 years now. and he's probably done a better job than Edwin of keeping up with the times (since he didn't have an extended absence in hell) but at some point, being ghosts and not interacting with the living very often must mean he's also not great at technology, or modern slang, or the evolving definitions of existing words. he seems to at least have some concept of what the internet is, but Crystal and Niko are the only ones shown actually using computers or phones.

what i'm saying is, i need more of Charles being a middle-aged man please

[marzipanandminutiae]

having the widespread ability to hyper-conform to beauty standards via filters, contouring, plastic surgery, etc. has done a number on people's responses to Undoctored Female Faces

I can't tell you how often I see a photo of a Victorian lady- a time when they HAD photo editing, but pushing it too far re: facial features was seen as bad form -where people are commenting "SHE LOOKS LIKE A MAN!!!!"

like my guy. you are enforcing a stricter gendering than the Victorians. what are we even doing here

[sthilarions]

A lot of the time when people say a character is a golden retriever I’m like “that breed does not mean what you think it means” but you know what? Charles is a golden retriever

He’s affectionate and friendly and energetic and smiles all of the time always, you kick him and he’ll still smile and run right back to you after

But also Goldens are typically ranked as the fourth most intelligent dog breed, after only Border Collies, Poodles, and German Shepherds, but everyone always reaches for them as a metaphor for “no thoughts head empty just fluff and love”

And that’s Charles too. He announces Edwin as the brains and keeps his smile on and bounces around and is so casually sweet everyone figures he must be running on vibes alone and actually when they’re back in the office he’s the one doing the more visibly nerdy magic, the stuff you’d normally assign to your autistic-coded Q-archetype basement-recluse wizard, he’s creating complex enchanted items and writing runes and mentally managing hundreds to thousands of items in his bag. And he’s just as much a detective as Edwin is.

He just also grins and jumps and projects friendliness like his life depends on it, and people assume.

[acertifiedwitch]

My favorite relationship dynamic is a healthy straight couple befriending a dark haired fella and then proceeding to accidentally create the most powerful queer polycule in existence

[1nterspace-2]

More Malevolent Tweets cause they bring me joy

Arthur Lester:

John Doe:

Detective Noel/Charlie Dowd:

Kayne:

[ziyechs]

joe'marr bengals reunion — a (somewhat) comprehensive timeline

1 — “have you spoken to the cincinnati bengals and what would it mean to reunite with joe burrow there?” — “i have talked to the bengals. i don’t know how many times i’ve talked to them though. but, me and joe, you know, i wouldn’t mind going back with joe. if we go back together we’re trying to do nothing but get back our chemistry and have some more fun.”

2 — “i'm really excited for this draft. i don't really know what's coming but, you know, if me and joe could get back to it... i’d love to have some fun with him again.”

3 — “i assume you'd be okay with a potential reunion in cincinnati if that were to happen?" — "yeah, i wouldn’t mind.”

4 — “me and joe talked about [a reunion] maybe like three, four times actually. we talked about it a good bit of times. he texted me this morning, just letting me know: ‘get your bags packed’, so i guess that meant that was gonna be the pick. i don’t know if that was a hint or what. so, he sent me that little text this morning, i was like ‘okay… i'm ready, bro’.”

5 — “what was your reaction like when he was lowkey recruiting you?” — “i actually was believing him sometimes, sometimes i was like ‘stop playing with me’ and sometimes i was just like ‘okay bro, i gotcha, i'm ready now’ so. i believed him this morning when he told me, you know, pack my bags. so that's when i finally was like: ‘yeah he might really be calling this’ so that's when i took his word.”

6 – “jimmy burrow, did joe tell you—he’s always been kind of coy about what he said to the bengals—did joe tell you that he wanted the bengals to select ja’marr?” — “yes, i think we figured that… and eventually… yes, he pretty much told us that he wanted ja’marr.”

7 — “it was like a week before the draft, ja'marr said: ‘dad, joe texted me.’ […] he didn't say what he said, you know. but he said: ‘joe just texted me’, [...] so he had talked to joe like... or texted with joe once or twice that week. and then he told me, he said: ‘dad, if i get with joe, we're gonna kill’ [...] so he was all excited about getting with joe.”

8 — “what was the first thing joe texted you when you got drafted by the bengals?” — “make sure your bag's packed and ready. yeah, that was what he told me.”

9 — “the cincinnati bengals are on the clock now. earlier that morning, i had got a text from joe. he said: hope your bags are packed. i know it's me, at the moment, that's what i'm saying to myself. i can't wait to be a part of it.”

10 — articles: 1, 2, 3, 4

[coraline-piange]

“Our deaths didn’t matter”: On vulnerabilities, precarious life and grievability in Netflix’s Dead Boy Detectives

oh, a little essay i wrote for my intro to gender and diversity studies seminar? yeah, i'll share that on tumblr :) (this was written in a day with almost no proof reading, so please keep that in mind)

A story about two teenage ghost boys solving supernatural mysteries while on the run from Death herself cannot get around discussing precarity of life and the conditions of grievability: What makes life precarious and why are some persons deemed grievable and others not? Dead Boy Detectives deals with the themes of loss and grief and injustice, its two main characters central to that exploration: Edwin Payne and Charles Rowland are two boys who have been killed at 16 and now run a supernatural detective agency to help other beings move on (to their afterlife) while themselves refusing to do the very same. Using Judith Butler’s theory of precarity and grievability, I argue that the series returns the grievability to the lives of the two ghost detectives: on the narrative level of the living and of the dead, as well as on a meta-narrative level. Starting out as ungrievable, Edwin and Charles come back to life through their respective character arcs as well as the show’s mere existence.

Butler distinguishes between precariousness and precarity: the first being the very condition of making “life” matter because of its fragile and injurious constitution, and the latter being the political and social conditions through which specific lives are apprehended as precarious or not (3, 24, 25). Precarity is therefore created through political mechanisms, frames which change and break out of themselves through time and space (10). The frames determine which life is recognised to matter and therefore needs protection at any point in time: “a life has to be intelligible as a life, has to conform to certain conceptions of what life is, in order to become recognizable. So just as norms of recognizability prepare the way for recognition, so schemas of intelligibility condition and produce norms of recognizability” (7). This mechanism becomes visible through the notion of a grievable life. Grievability appears as “a presupposition for the life that matters” (14). Thus, lives that are deemed grievable are in turn apprehended as precarious and to matter, whereas ungrievable lives “are ‘lose-able’, or can be forfeited, precisely because they are framed as being already lost or forfeited.” (31). They are considered a threat to the “right” kind of precarious life which in turn sanctions the use of violence against them. They exist in a state outside of life, “something living that is other than life […] and ungrieved when lost” (15). Butler’s notion of precarity and grievability is focused on the context of war, however it can be applied generally as well: Frames of vulnerability that ensure an unequal distribution of grievability exist in everyday life.

The mere premise of Dead Boy Detectives already gives reason to think about lives that matter. Here you have two teenage ghost boys that died with their whole lives still ahead of them. They are using their existence as ghosts as a sort of surrogate life — living for all intents and purposes without being alive — yet without the possibility of ever truly growing up, they are stuck being living dead. Their grievability lies in the unfulfilled potential they have because their lives have been cut short, “a life unlived”.

The narrative frames their deaths as unjust tragedies, not only because they died young, but because of the way they died and the treatment they received from the living following their deaths. Both boys are killed by their classmates in violent hate crimes for being different. Edwin is dragged from his bed at the boarding school St Hilarion’s in the middle of the night, gagged and bound to a table. His classmates, led by Simon, call him “Mary Ann”, a derogatory word used to describe effeminate gay men. Their goal is to scare Edwin by performing a sacrifice to the demon Sa’al unknowing that the ritual is real. Sa’al turns up, kills the classmates and takes Edwin to hell — apologizing for the technicality that seemingly forces his hand. In hell Edwin is tortured for the next 73 years before escaping in 1989 and returning to earth as a ghost. (“The Case of Crystal Palace” 31:09 – 33:08).

He meets Charles Rowland while the other boy is on the brink of death. Charles defended a classmate from bullies who targeted the classmate for being Pakistani. Charles stepping in had the bullies turn on him, beating him up and forcing him into a freezing lake while throwing stones at him. Charles manages to swim and then run away, hiding in the attic of St Hilarion’s. There he dies of hypothermia and internal bleeding. (“The Case of the Lighthouse Leapers” 40:28 – 42:58). In the last few hours of his life, Edwin keeps him company. They form a friendship and, when Charles has passed away in the early morning, they run from Death together (“The Case of the Very Long Stairway” 10:14 – 15:02). While Edwin’s death hasn’t been changed much from the original version in the comics (except for the bleak detail of the classmates shoving his body into a trunk where it lay undiscovered for decades – the show simply has Edwin’s body disintegrate), the Netflix adaptation changed Charles’ death quite a bit: In the comics, he is alone at the school over winter break and victim to the escaped souls of Hell, including a cruel headmaster and Edwin’s bullies, who torture Charles for days before he dies (Gaiman). In the show, Charles dies at the hands of his racist classmates, not the supernatural.

Their deaths are human made, brought upon by other kids. While there arguably was no intent for murder in either case, the intent behind the hate crimes that led to the boys’ deaths betrays a disregard of lives that enabled violence in the first place. Edwin was targeted by bullies for his presumed homosexuality, both because of the outward homophobia of his classmates as well as Simon’s internalised homophobia. During Edwin’s brief return to hell in episode 7, Simon reveals that he used to have feelings for Edwin: “I got so embarrassed thinking we… We were the same” (“Very Long Stairway” 26:04). Simon recognised in them both that their homosexuality made them ungrievable in the eyes of 1910s British society where it was still criminalised. Instead of using this vulnerability to violence for solidarity and a united front, Simon hid his vulnerability and, in an attempt of proving his life’s precarity to his classmates, turned into the perpetrator of violence himself. In Butler’s words: “the shared condition of precariousness leads not to reciprocal recognition, but to a specific exploitation of targeted populations, of lives that are not quite lives cast as ‘destructible’ and ‘ungrievable’” (31). Edwin’s monologue in episode 1, when he tells Crystal Palace of their deaths, makes this ungrievability explicit:

Do you know what happened when I died, Crystal? Nothing. My disappearance was labelled ‘an act of God.’ And Charles? The boarding school covered up what happened to him. Our deaths didn’t matter. No one ever solved them. […] We are solving cases that would never be solved. […] We didn’t matter, he and I. So these cases matter. They have to matter. (“Crystal Palace” 40:09).

Similar to Edwin, Charles seems to have gone ungrieved. As a biracial Indian kid coming to the defence of a Pakistani boy, he is vulnerable to racist violence. Even before his death he experiences violence at the hands of his abusive father which he is not protected against. In fact, he carries that trauma with him more than 30 years after his death, unprocessed and unacknowledged. The cover-up of Charles’ death implies that the futures of his classmates were deemed to outweigh the crime of taking his unlived life. Their precarity was recognized while his was denied. His loss didn’t matter — just like Edwin’s hadn’t.

The narrative shows that the frame of their grievability shifts over time, however. While Edwin was not deemed grievable in 1916 and Charles experienced the same in 1989, they find value to their lives not only with each other but also through the people they help and meet. Most importantly, however, they learn to apprehend their own precarity over the course of the series by completing their character arcs: Through his encounters with the Cat King and Monty, Edwin learns to stop repressing his sexuality and to accept his romantic feelings for Charles, going so far as to confess his love to Charles on the stairs out of hell (“Very Long Stairway” 45:30). His acceptance and embracing of the very thing that made him vulnerable to violence gives him the ability to help absolve Simon of his guilt, enabling both of them to leave hell (Simon by moving on to the afterlife, Edwin by running out with Charles) and therefore breaking the cycle of violence. By acknowledging their respective grievability and vulnerability, both Simon and Edwin get to be apprehended as precarious lives.

Charles in turn is forced to process the abuse he suffered at the hands of his father. He is confronted with his vulnerability and has to deal with the fear of turning into a perpetrator by virtue of being his father’s son. By acknowledging his anger at his fate, he finally allows himself to grief both the youth that was stolen from him by his father as well as the future taken from him by his classmates. After beating the Night Nurse, who is trying to force the boys to move on to their afterlives, into the mouth of a sea monster, he says: “Was it to extreme, Edwin? So was me dying at 16, mate. I don’t wanna be dead. I hate it.” (“Lighthouse Leapers” 44:10). This confession sets of Charles no longer repressing his anger and instead seeking reassurance from his friend. Through his grief, and through letting Edwin partake in that process, he returns grievability to his unlived life, making it matter.

Edwin’s and Charles’ vulnerabilities as minorities exposes the norms of the frames through which grievability and precarity are apprehended. They also show a shift in those frames: their story could be told because queer people’s and the lives of people of colour are nowadays deemed as precarious and worth telling. On a meta-narrative level, then, their unlives are made to matter again through the existence of the show. They get to tell their story and be the heroes in it, making sure other people’s lives matter and are grieved. By shining a light on the injustice that is their deaths, the show in some form grieves their unlived lives, making them matter and giving them precarity. The ghosts retroactively turn back into living beings. Ironically, the series’ cancellation in August of 2024, despite a generally good reception both in viewership and critical acclaim (Otterson), has diminished this feat: The Dead Boy Detectives return to being ghosts whose story doesn’t matter enough to be told (any further). Their true grievability may lay in the fan’s effort to get the series renewed and to bringing the dead boys back to life.

[Works Cited (besides the eipsodes themselves): Butler, Judith. Frames of War. When is Life Grievable? Verso, 2009.]

[idliketobeatree]

dead boy detectives contrapuntal poems — 5 — (1) (3) (2) (4)

(click for better quality ✳️)

[blood3red]

I wonder what’s going on in his microwave.

@gl1tchr

[anxious-witch]

Please, let him be happy ( j.p. )

Shortened the og poem a bit bc this was super long already but-yes