#SRC: Archer

[artparks-sculpture]

A sculpture titled 'Hoodie Study I (Small Carving of Thoughtful Teenager)' by sculptor Simon Archer. In a medium of Wood and in an edition of 1/1.

[arrivingonthescene]

disco elysium's themes of cycles is neat, particularily the cycle of seasons

the game starts with a cold spring day, where it still is snowing but bits of spring are peeking through. on the sea fortress, the insulindian lilies are blooming, there are so many references to spring especially from shivers when it's raining, "spring thaw will not last. The winter will return to Revachol." (src). Le Retour itself, had been whispered about since fall in Jamrock, and kim comments that it will make for a difficult spring for them all (src)

when having punched klaasje's door, there's an inland empire comment on when harry and dora first met. "Caustic Echo. It was darkness all along. But you were young and it was summer. You just had to take a dive..." (src) even the smell of her tutti frutti gum invokes the feeling of summer to harry "a touch of cinnamon, the end of summer" (src)

dora's love letter was written to harry in autumn (src). there was even hoarfrost on the ground, winter hadn't come yet but it was slowly creeping up on them. when harry is contacting coalition warship archer, harry along with inland empire comments that this capturing of all the voices echoing through the pale is "strangely comforting" and like "the dry rustling of autumn leaves" (src).

there's so much more, but these are the ones that stood out to me the most

[incorrectshera]

Scorpia: These are from a doctor!

Catra: So? Entrapta's a doctor.

Scorpia: Not the medical kind!

Entrapta: Not even the other kind, technically.

[incorrectaphquote]

hungary: what’s your blood type?

prussia: how would i know?

hungary: how would you not know?!

prussia: who am i? karl landsteiner? discoverer of blood groups?

hungary: you don’t know your own blood type, but you know who discovered them?!

[incorrectnordicsquotes]

ICELAND: Denmark ran off and nearly got himself killed! All because you couldn’t control him.

NORWAY: Since when is babysitting Den my - oh, god. That’s exactly my job, isn’t it?

[kybercvnt]

—Master Post—

Hi! I'm @kybercvnt! This is just my master list of stories and to also serve as a hub for some information.

– Masterlist –

Key: Smut - *

All fanfics

Star Wars

Obi-Wan Kenobi

Transfixed

Homesick

Impending Doom (ao3)

Anakin Skywalker

Cosmic Moonshine

Fertile (ao3) (non-con) *

You Look Cold

Grovelling (request)

Eternal Love *

Fluffy Cuddles

Din Djarin

Bar Fight

Saber Training

The Ration Vendor

Cassian Andor

Bargaining ♡

I'll Take Care of You

In The Woods of Aldhani *

Inexperienced *

A Gift Worth A Thousand Words

Padmé Amidala

You Should Try the Fruit

MCU

Tony Stark

Behind Closed (Elevator) Doors (ao3) (non-con) *

Star Trek

Jonathan Archer

Pet Empathy

Other

Sam Monroe (Life as a House)

A Discount *

The Party

Michael Schmidt (FNAF Movie)

Alternative Payment *

Klaus Hargreeves (Umbrella Academy)

First Love

– (N)FAQ –

Are you actively writing?

Yes.

Are requests open?

Yes.

Who do you write for?

☆ Star Wars ☆ and all of its characters. I've also recently diverged into multifandom finally and have a few stray fics from fandoms I'm in!

What is your writing schedule?

It's non-existent! I write when I feel like it.

Do you write smut?

Yes. Not all smut is linked in the masterlist, only the tamer ones are. For my unhinged fics and smut, you can find them on my ao3.

Can I get in contact?

Of course. My DMs are open.

– Requests –

If you want it I'll write it. I'm prone to writing reader inserts so unless you specify a particular pairing, you'll get what you get (also I try to write it gender-neutral unless you say otherwise!).

I've also reached into the deepest pits of hell to pull out some gnarly storylines so there is absolutely nothing I won't write (well... there are some exceptions but you should ask and test the waters)

Got a trope? I'll write it. You need something to jack off to? I got you b.

Grogu src | Divider src

[y-kihyun-archive]

HOU YI, the great archer, shot down nine of the ten suns scorching the Earth. As a reward, the gods gave Hou Yi two mysterious pills--one for him and one for his wife, CHANG’E. But Chang’e became curious and ate both: the first made her immortal, but the second caused her to float all the way up to the moon.

Unable to follow on his own, Hou Yi made a deal with the gods. He became the final sun’s eternal custodian so that each year, on the full moon of the eighth lunar month, the couple can reunite.

“SPIN AGAIN AND AGAIN, EVENTUALLY WE’LL MEET / ON THE DAY THE SUN COVERS THE MOON LIKE A LIE” [FOLLOW]

☞ srcs: 1, 2, 3, 4

[tcm]

Interview with Mark A. Vieira, author of Forbidden Hollywood: The Pre-Code Era (1930-1934)

Mark A. Vieira is an acclaimed film historian, writer and photographer. His most recent book, Forbidden Hollywood: The Pre-Code Era (1930-1934): When Sin Ruled the Movies is now available from TCM and Running Press.

Raquel Stecher: Twenty years ago you wrote Sin in Soft Focus: Pre-Code Hollywood for Harry N. Abrams. Why did you decide to revisit the pre-Code era with your new TCM-Running Press book Forbidden Hollywood?

Mark A. Vieira: That’s a good question, Raquel. There were three reasons. First, Sin in Soft Focus had gone out of print, and copies were fetching high prices on eBay and AbeBooks. Second, the book was being used in classes at the USC School of Cinematic Arts. Third, Jeff Mantor of Larry Edmunds Cinema Book Shop told me that his customers were asking if I could do a follow-up to the 1999 book, which had gotten a good New York Times review and gone into a second printing. So I wrote a book proposal, citing all the discoveries I’d made since the first book. This is what happens when you write a book; information keeps coming for years after you publish it, and you want to share that new information. Sin in Soft Focus: Pre-Code Hollywood told the story of the Code from an industry standpoint. Forbidden Hollywood has that, but it also has the audience’s point of view. After all, a grassroots movement forced Hollywood to reconstitute the Code.

Raquel Stecher: Forbidden Hollywood includes reproduced images from the pre-Code era and early film history. How did you curate these images and what were your criteria for including a particular photograph?

Mark A. Vieira: The text suggests what image should be placed on a page or on succeeding pages. Readers wonder what Jason Joy looked like or what was so scandalous about CALL HER SAVAGE (’32), so I have to show them. But I can’t put just any picture on the page, especially to illustrate a well-known film. My readers own film books and look at Hollywood photos on the Internet. I have to find a photo that they haven’t seen. It has to be in mint condition because Running Press’s reproduction quality is so good. The image has to be arresting, a photo that is worthy in its own right, powerfully composed and beautifully lit—not just a “representative” photo from a pre-Code film. It also has to work with the other photos on that page or on the next page, in terms of composition, tone and theme. That’s what people liked about Sin in Soft Focus. It had sections that were like rooms in a museum or gallery, where each grouping worked on several levels. In Forbidden Hollywood, I’m going for a different effect. The photo choices and groupings give a feeling of movement, a dynamic affect. In this one, the pictures jump off the page.

Raquel Stecher: Why did you decide on a coffee table art book style format?

Mark A. Vieira: Movies are made of images. Sexy images dominated pre-Code. To tell the story properly, you have to show those images. Movie stills in the pre-Code era were shot with 8x10 view cameras. The quality of those big negatives is ideal for a fine-art volume. And film fans know the artistry of the Hollywood photographers of that era: Fred Archer, Milton Brown, William Walling, Bert Longworth, Clarence Bull, Ernest Bachrach and George Hurrell. They’re all represented—and credited—in Forbidden Hollywood.

Raquel Stecher: What was the research process like for Forbidden Hollywood?

Mark A. Vieira: I started at the University of Southern California, where I studied film 40 years ago. I sat down with Ned Comstock, the Senior Library Assistant, and mapped out a plan. USC has scripts from MGM, Universal and the Fox Film Corporation. The Academy Library has files from the Production Code Administration. I viewed DVDs and 16mm prints from my collection. I reviewed books on the Code by Thomas Doherty and other scholars. I jumped into the trade magazines of the period using the Media History Digital Library online. I created a file folder for each film of the era. It’s like detective work. It’s tedious—until it gets exciting.

Raquel Stecher: How does pre-Code differ from other film genres?

Mark A. Vieira: Well, pre-Code is not a genre like Westerns or musicals. It’s a rediscovered element of film history. It was named in retrospect, like film noir, but unlike film noir, pre-Code has lines of demarcation—March 1930 through June 1934—the four-year period before the Production Code was strengthened and enforced. When Mae West made I’M NO ANGEL (’33), she had no idea she was making a pre-Code movie. The pre-Code tag came later, when scholars realized that these films shared a time, a place and an attitude. There was a Code from 1930 on, but the studios negotiated with it, bypassed it or just plain ignored it, making movies that were irreverent and sexy. Modern viewers say, “I’ve never seen that in an old Hollywood movie!” This spree came to an end in 1934, when a Catholic-led boycott forced Hollywood to reconstitute the Code. It was administered for 20 years by Joseph Breen, so pre-Code is really pre-Breen.

Raquel Stecher: What are a few pre-Code films that you believe defined the era?

Mark A. Vieira: That question has popped up repeatedly since I wrote Sin in Soft Focus, so I decided which films had led to the reconstituted Code, and I gave them their own chapters. To qualify for that status, a film had to meet these standards: (1) They were adapted from proscribed books or plays; (2) They were widely seen; (3) They were attacked in the press; (4) They were heavily cut by the state or local boards; (5) They were banned in states, territories or entire countries; and (6) They were condemned in the Catholic Press and by the Legion of Decency. To name the most controversial: THE COCK-EYED WORLD (’29) (off-color dialogue); THE DIVORCEE (’30) (the first film to challenge the Code); FRANKENSTEIN (’31) (horror); SCARFACE (’32) (gang violence); RED-HEADED WOMAN (’32) (an unrepentant homewrecker); and CALL HER SAVAGE (’32) (the pre-Code film that manages to violate every prohibition of the Code). My big discovery was THE SIGN OF THE CROSS (’32). This Cecil B. DeMille epic showed the excesses of ancient Rome in such lurid detail that it offended Catholic filmgoers, thus setting off the so-called “Catholic Crusade.”

Raquel Stecher: It’s fascinating to read correspondence, interviews and reviews that react to the perceived immorality of these movies. How does including these conversations give your readers context about the pre-Code era?

Mark A. Vieira: Like some film noir scholars, I could tell you how I feel about the film, what it means, the significance of its themes. So what? Those are opinions. My readers deserve facts. Those can only come from documents of the period: letters, memos, contracts, news articles. These are the voices of the era, the voices of history. A 100-year-old person might misremember what happened. A document doesn’t misremember. It tells the tale. My task is to present a balanced selection of these documents so as not to stack the deck in favor of one side or the other.

Raquel Stecher: In your book you discuss the attempts made to censor movies from state and federal government regulation to the creation of the MPPDA to the involvement of key figures like Joseph Breen and Will H. Hays. What is the biggest misconception about the Production Code?

Mark A. Vieira: There are a number of misconceptions. I label them and counter them: (1) “Silent films are not “pre-Code films.” (2) Not every pre-Code film was a low-budget shocker but made with integrity and artistry; most were big-budget star vehicles. (3) The pre-Code censorship agency was the SRC (Studio Relations Committee), part of the Motion Picture Producers and Distributors Association (MPPDA)—not the MPPA, which did not exist until the 1960s! (4) The Code did not mandate separate beds for married couples. (5) Joseph Breen was not a lifelong anti-Semite, second only to Hitler. He ended his long career with the respect and affection of his Jewish colleagues.

Raquel Stecher: How did the silent movie era and the Great Depression have an impact on the pre-Code era?

Mark A. Vieira: The silent era allowed the studios the freedom to show nudity and to write sexy intertitles, but the local censors cut those elements from release prints, costing the studios a lot of money, which in part led to the 1930 Code. The Great Depression emptied the theaters (or closed them), so producers used sexy films to lure filmgoers back to the theaters.

Raquel Stecher: TCM viewers love pre-Codes. What do you think it is about movies from several decades ago that still speak to contemporary audiences?

Mark A. Vieira: You’re right. Because we can see these films so readily, we forget that eight decades have passed since they premiered. We don’t listen to music of such a distant time, so how can we enjoy the art of a period in which community standards were so different from what they are now? After all, this was the tail end of the Victorian era, and the term “sex” was not used in polite society. How did it get into films like MIDNIGHT MARY (’33) and SEARCH FOR BEAUTY (’34)? There were protests against such films, and there were also millions of people enjoying them. What they enjoyed is what TCM viewers enjoy—frankness, honesty, risqué humor, beautiful bodies and adult-themed stories.

Raquel Stecher: What do you hope readers take away from your book?

Mark A. Vieira: One thing struck me as I wove the letters of just plain citizens into the tapestry of this story. Americans of the 1930s wrote articulate, heartfelt letters. One can only assume that these people were well educated and that they did a lot of reading—and letter writing. I want my readers to read the entire text of Forbidden Hollywood. I worked to make it accurate, suspenseful and funny. There are episodes in it that are hilarious. These people were witty! So I hope you’ll enjoy the pictures, but more so that you’ll dive into the story and let it carry you along. Here’s a quote about SO THIS IS AFRICA (‘33) from a theater owner: “I played it to adults only (over 15 years old). Kids who have been 12 for the last 10 years aged rapidly on their way to our box office.”

[totalsoccer]

'Heart and soul': Recalled Willey stars as England beat Ireland

Left-arm paceman Willey, appearing in his first ODI since being left out of England's World Cup-winning squad for Jofra Archer, took 5-30 as Ireland were dismissed for just 172 in a match that marked the return of white-ball cricket from the coronavirus lockdown. An unfamiliar-looking England, in the first of a three-match series that launches the new World Cup Super League to determine qualification for the 2023 50-over showpiece in India, slumped to 78-4 at the Ageas Bowl.

source https://sports.yahoo.com/heart-soul-recalled-willey-stars-england-beat-ireland-201805114--spt.html?src=rss

[artparks-sculpture]

A sculpture titled 'Woodland Throne (Carved Majestic Wooden Garden Seat)' by sculptor Simon Archer. In a medium of wood and in an edition of 1/1.

[withanaccent]

REVIEW: Batwoman, S1E9 - Crisis on Infinite Earths, Part 2

REVIEW: Batwoman, S1E9 – Crisis on Infinite Earths, Part 2

While “Crisis on Infinite Earths kicked off with a bang on Supergirl, the second part on Batwomanwas forced to spin its wheels for a bit in the wake of Oliver’s (Stephen Amell) demise. In fact, both episodes focused more on the Emerald Archer than they needed too, considering the heroines who should have been at the center. It’s understandable that Kate (Ruby Rose) wasn’t leading the hour because…

[incorrectshera]

Shadow Weaver: I have to go. But if I find one single cat hair when I get back, I'll rub...sand...in your dead little eyes.

Catra: Very good, Shadow Weaver

Shadow Weaver: [pause] I also need you to go buy sand.

Catra: Yes, Shadow Weaver.

Shadow Weaver: I don't know if they grade it, but... coarse.

[incorrectaphquote]

france: england, i am in love with you.

england: … you are also shitfaced.

france: i can be both!

[attractionssinsanjose-blog]

History Park at Kelley Park

https://goo.gl/maps/WaTh9fnTecN9PSJJ6

History Park at Kelley Park - https://www.sanjose.org/listings/history-park

1300 Senter Rd, San Jose, CA 95112

The lands of the estate were once belonging to Mrs. Louise Kelley, a feminist and former Mayor of San Jose, who inherited the land from her uncle, Judge Lawrence Archer. In memory of her father (ARcher) and her husband's (Frank Kelley), Kelley named the property "AR-Kell Villa." Still on the pepper-tree drive away from Senter, pillars named "AR-KEL" can be seen.

Kelley Park is situated in San Jose, California, United States, a city park of 156 acres (63 ha). Story Street in north-west Kelley Park, Senter Road in the southwest, Roberts Road in the northeast, and Yerba Buena High School and Phelan Drive in East San Jose are bordered by Kelley Park. Coyote Creek spans much of the area, part of the larger San Jose Coyote Creek Area Chain.

Excellent place for groups, picnics and family reunions. Very well kept and spacious. Barbecues, beds, showers. If you want to secure a place, you have to make reservations but it is on the first stage after 10 a.m. Nevertheless, there are drawbacks, such as batteries, speakers / music etc. This is a great place to bring children.  The chives petting zone, like walking, was a big hit. One of the nice features of the park is that there are many shade trees, even when the sun is high.

The team that preserved and refurbished the park did an incredible feat.  All of the old favorites are revived and some new features have been installed.  Consider it a custom for the parents. It is the best place to relax for holidays with my parents. Big broad park with plenty to go and see. Nonetheless, parking can be difficult, because I assume you have to charge some missed, so be ready for this. Once you are there, it's a great place and you wander around. Excellent fun for the kids in the forest, at least. Better days were seen in the fun park.

The Japanese Gardens were a very fun and serene place to visit. Excellent place. Superb place. It is too big compared to the Bay area's only Japanese greenhouse. They have a big Koi pond with plenty of fish and many other plants and vegetation. If you are looking for a place to rest in the Bay area. This is a must see place. We are also equipped with a wide picnic area. The only thing to do is to park 6 US dollars per day and 10 US dollars on holiday. It is an urban park of original structures, art and artifacts and replicas of historical items. It has a chocolate shop / cafe gallery and basically it's a museum. Access safe. Safe.

<iframe src="https://www.google.com/maps/embed?pb=!1m28!1m12!1m3!1d50792.2238437802!2d-121.85652077890934!3d37.282950408854944!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!4m13!3e6!4m5!1s0x808e3328c017fc69%3A0x469a3a31aa7333c3!2sHistory%20San%20Jos%C3%A9%2C%20Senter%20Road%2C%20San%20Jose%2C%20CA!3m2!1d37.319090599999996!2d-121.85824989999999!4m5!1s0x808e2fbab207bb51%3A0x5e5fe87ee7298052!2sSacred%20Space%20Memorial%20Funerals%2C%20175%20Bernal%20Rd%20Suite%20100-10%2C%20San%20Jose%2C%20CA%2095119!3m2!1d37.2279905!2d-121.7768507!5e0!3m2!1sen!2sus!4v1570136550961!5m2!1sen!2sus" width="600" height="450" frameborder="0" style="border:0;" allowfullscreen=""></iframe>

This amazing park is located near the following parks in San Jose, California:

Alum Rock Park

Chinese Cultural Garden

Emma Prusch Farm Park

Guadalupe River Trail

Happy Hollow Park & Zoo

Hellyer County Park

History Park at Kelley Park

Kelley Park

Lake Cunningham

Martial Cottle Park

Oak Hill Memorial Park

Overfelt Gardens

Plaza de César Chávez

Rosicrucian Park

San Jose Municipal Rose Garden

Santa Teresa County Park <Japanese Friendship Garden>