#New System for Fiber and Film Sorting

[kaijuposting]

Jaegers of Pacific Rim: What do we know about them?

There's actually a fair amount of lore about Pacific Rim's jaegers, though most of it isn't actually in the movie itself. A lot of it has been scattered in places like Pacific Rim: Man, Machines, & Monsters, Tales From Year Zero, Travis Beacham's blog, and the Pacific Rim novelization.

Note that I will not be including information from either Pacific Rim: Uprising or Pacific Rim: The Black. Uprising didn't really add anything, and The Black's take on jaegers can easily be summed up as "simplified the concept to make a cartoon for children."

So what is there to know about jaegers, besides the fact that they're piloted by two people with their brains connected via computer?

Here's a fun fact: underneath the hull (which may or may not be pure iron), jaegers have "muscle strands" and liquid data transfer technology. Tendo Choi refers to them in the film when describing Lady Danger's repairs and upgrades:

Solid iron hull, no alloys. Forty engine blocks per muscle strand. Hyper-torque driver for every limb and a new fluid synapse system.

The novelization by Alex Irvine makes frequent references to this liquid data transfer tech. For example:

The Jaeger’s joints squealed and began to freeze up from loss of lubricant through the holes Knifehead had torn in it. Its liquid-circuit neural architecture was misfiring like crazy. (Page 29.)

He had enough fiber-optic and fluid-core cabling to get the bandwidth he needed. (Page 94.)

Newt soldered together a series of leads using the copper contact pins and short fluid-core cables. (Page 96.)

Unfortunately I haven't found anything more about the "muscle strands" and what they might be made of, but I do find it interesting that jaegers apparently have some sort of artificial muscle system going on, especially considering Newt's personnel dossier in the novel mentioned him pioneering research in artificial tissue replication at MIT.

The novelization also mentions that the pilots' drivesuits have a kind of recording device for their experiences while drifting:

This armored outer layer included a Drift recorder that automatically preserved sensory impressions. (Page 16.)

It was connected through a silver half-torus that looked like a travel pillow but was in fact a four-dimensional quantum recorder that would provide a full record of the Drift. (Page 96.)

This is certainly... quite the concept. Perhaps the PPDC has legitimate reasons for looking through the memories and feelings of their pilots, but let's not pretend this doesn't enable horrific levels of privacy invasion.

I must note, though, I haven't seen mention of a recording system anywhere outside of the novel. Travis Beacham doesn't mention it on his blog, and it never comes up in either Tales From Year Zero or Tales From The Drift, both written by him. Whether there just wasn't any occasion to mention it or whether this piece of worldbuilding fell by the wayside in Beacham's mind is currently impossible to determine.

Speaking of the drivesuits, let's talk about those more. The novelization includes a few paragraphs outlining how the pilots' drivesuits work. It's a two-layer deal:

The first layer, the circuity suit, was like a wetsuit threaded with a mesh of synaptic processors. The pattern of processor relays looked like circuitry on the outside of the suit, gleaming gold against its smooth black polymer material. These artificial synapses transmitted commands to the Jaeger’s motor systems as fast as the pilot’s brain could generate them, with lag times close to zero. The synaptic processor array also transmitted pain signals to the pilots when their Jaeger was damaged.

...

The second layer was a sealed polycarbonate shell with full life support and magnetic interfaces at spine, feet, and all major limb joints. It relayed neural signals both incoming and outgoing. This armored outer layer included a Drift recorder that automatically preserved sensory impressions.

...

The outer armored layer of the drivesuit also kept pilots locked into the Conn-Pod’s Pilot Motion Rig, a command platform with geared locks for the Rangers’ boots, cabled extensors that attached to each suit gauntlet, and a full-spectrum neural transference plate, called the feedback cradle, that locked from the Motion Rig to the spine of each Ranger’s suit. At the front of the motion rig stood a command console, but most of a Ranger’s commands were issued either by voice or through interaction with the holographic heads-up display projected into the space in front of the pilots’ faces. (Page 16.)

Now let's talk about the pons system. According to the novelization:

The basics of the Pons were simple. You needed an interface on each end, so neuro signals from the two brains could reach the central bridge. You needed a processor capable of organizing and merging the two sets of signals. You needed an output so the data generated by the Drift could be recorded, monitored, and analyzed. That was it. (Page 96.)

This is pretty consistent with other depictions of the drift, recording device aside. (Again, the 4D quantum recorder never comes up anywhere outside of the novel.)

The development of the pons system as we know it is depicted in Tales From Year Zero, which goes into further detail on what happened after Trespasser's attack on San Francisco. In this comic, a jaeger can be difficult to move if improbably calibrated. Stacker Pentecost testing out a single arm describes the experience as feeling like his hand is stuck in wet concrete; Doctor Caitlin Lightcap explains that it's resistance from the datastream because the interface isn't calibrated to Pentecost's neural profile. (I'm guessing that this is the kind of calibration the film refers to when Tendo Choi calls out Lady Danger's left and right hemispheres being calibrated.)

According to Travis Beacham's blog, solo piloting a jaeger for a short time is possible, though highly risky. While it won't cause lasting damage if the pilot survives the encounter, the neural overload that accumulates the longer a pilot goes on can be deadly. In this post he says:

It won't kill you right away. May take five minutes. May take twenty. No telling. But it gets more difficult the longer you try. And at some point it catches up with you. You won't last a whole fight start-to-finish. Stacker and Raleigh managed to get it done and unplug before hitting that wall.

In this post he says:

It starts off fine, but it's a steep curve from fine to dead. Most people can last five minutes. Far fewer can last thirty. Nobody can last a whole fight.

Next, let's talk about the size and weight of jaegers. Pacific Rim: Man, Machines, & Monsters lists off the sizes and weights of various jaegers. The heights of the jaegers it lists (which, to be clear, are not all of them) range from 224 feet to 280 feet. Their weights range from 1850 tons to 7890 tons. Worth noting, the heaviest jaegers (Romeo Blue and Horizon Brave) were among the Mark-1s, and it seems that these heavy builds didn't last long given that another Mark-1, Coyote Tango, weighed 2312 tons.

And on the topic of jaeger specs, each jaeger in Pacific Rim: Man, Machines, & Monsters is listed with a (fictional) power core and operating system. For example, Crimson Typhoon is powered by the Midnight Orb 9 power core, and runs on the Tri-Sun Plasma Gate OS.

Where the novelization's combat asset dossiers covers the same jaegers, this information lines up - with the exception of Lady Danger. PR:MMM says that Lady Danger's OS is Blue Spark 4.1; the novelization's dossier says it's BLPK 4.1.

PR:MMM also seems to have an incomplete list of the jaegers' armaments; for example, it lists the I-22 Plasmacaster under Weaponry, and "jet kick" under Power Moves. Meanwhile, the novelization presents its armaments thus:

I-22 Plasmacaster Twin Fist gripping claws, left arm only Enhanced balance systems and leg-integral Thrust Kickers Enhanced combat-strike armature on all limbs

The novel's dossiers list between 2-4 features in the jaegers' armaments sections.

Now let's move on to jaeger power cores. As many of you probably already know, Mark-1-3 jaegers were outfitted with nuclear power cores. However, this posed a risk of cancer for pilots, especially during the early days. To combat this, pilots were given the (fictional) anti-radiation drug, Metharocin. (We see Stacker Pentecost take Metharocin in the film.)

The Mark-4s and beyond were fitted with alternative fuel sources, although their exact nature isn't always clear. Striker Eureka's XIG supercell chamber implies some sort of giant cell batteries, but it's a little harder to guess what Crimson Typhoon's Midnight Orb 9 might be, aside from round.

Back on the topic of nuclear cores, though, the novelization contains a little paragraph about the inventor of Lady Danger's power core, which I found entertaining:

The old nuclear vortex turbine lifted away from the reactor housing. The reactor itself was a proprietary design, brainchild of an engineer who left Westinghouse when they wouldn’t let him use his lab to explore portable nuclear miniaturization tech. He’d landed with one of the contractors the PPDC brought in at its founding, and his small reactors powered many of the first three generations of Jaegers. (Page 182.)

Like... I have literally just met this character, and I love him. I want him to meet Newt Geiszler, you know? >:3

Apparently, escape pods were a new feature to Mark-3 jaegers. Text in the novelization says, "New to the Mark III is an automated escape-pod system capable of ejecting each Ranger individually." (Page 240.)

Finally, jaegers were always meant to be more than just machines. Their designs and movements were meant to convey personality and character. Pacific Rim: Man, Machines, & Monsters says:

Del Toro insisted the Jaegers be characters in and of themselves, not simply giant versions of their pilots. Del Toro told his designers, "It should be as painful for you to see a Jaeger get injured as it is for you to see the pilot [get hurt.]" (Page 56.)

Their weathered skins are inspired by combat-worn vehicles from the Iraq War and World War II battleships and bombers. They look believable and their design echoes human anatomy, but only to a point. "At the end of the day, what you want is for them to look cool," says Francisco Ruiz Velasco. "It's a summer movie, so you want to see some eye candy." Del Toro replies, "I, however, believe in 'eye protein,' which is high-end design with a high narrative content." (Page 57.)

THE JAEGER FROM DOWN UNDER is the only Mark 5, the most modern and best all-around athlete of the Jaegers. He's also the most brutal of the Jaeger force. Del Toro calls him "sort of brawler, like a bar fighter." (Page 64.)

And that is about all the info I could scrounge up and summarize in a post. I think there's a lot of interesting stuff here - like, I feel that the liquid circuit and muscle tissue stuff gives jaegers an eerily organic quality that could be played for some pretty interesting angles. And I also find it interesting that jaegers were meant to embody their own sort of character and personality, rather than just being simple combat machines or extensions of their pilots - it's a great example of a piece of media choosing thematic correctness over technical correctness, which when you get right down to it, is sort of what Pacific Rim is really all about.

[pashupati22]

A Complete Guide to the Plastic Recycling Process

The plastic recycling process is a vital solution to the global plastic waste crisis. It helps reduce environmental pollution, conserve resources, and promote sustainability. With billions of tons of plastic produced annually, understanding how to reduce plastic waste through recycling is more important than ever. This guide explores the key stages of recycling, types of plastics, and its overall benefits.

Why Recycle Plastic?

Plastic is versatile and durable but poses significant environmental challenges due to its slow decomposition. Recycling offers a way to:

Reduce Plastic Pollution: Keeps plastic out of landfills and oceans.

Conserve Resources: Saves raw materials like petroleum and natural gas.

Lower Energy Consumption: Recycling plastic uses less energy than manufacturing new materials.

Protect Ecosystems: Reduces harm to wildlife caused by plastic waste.

Stages of the Plastic Recycling Process

Collection

Plastic waste is gathered from homes, businesses, and public recycling bins.

Collection systems vary by region and can include curbside pickup or drop-off points.

Sorting

Plastics are sorted by type and color, often using automated systems like infrared scanners.

Sorting ensures only recyclable plastics enter the next stage of the process.

Cleaning

Contaminants like food residue, labels, and adhesives are removed.

Clean plastics are shredded into smaller pieces for easier processing.

Shredding and Resizing

Plastics are shredded into flakes or pellets, which can be used in manufacturing.

This step improves material handling and prepares the plastic for melting.

Melting and Reforming

Plastic flakes are melted and reformed into new products or raw materials.

Advanced technologies allow for the creation of high-quality recycled plastics.

Manufacturing New Products

Recycled plastics are used to create new items, such as bottles, clothing, or construction materials.

Types of Plastics Commonly Recycled

PET (Polyethylene Terephthalate)

Found in water bottles and food containers.

Easily recyclable and turned into fibers or new containers.

HDPE (High-Density Polyethylene)

Used in milk jugs, detergent bottles, and pipes.

Recycled into durable goods like benches and bins.

LDPE (Low-Density Polyethylene)

Found in shopping bags and packaging films.

Often recycled into trash bags and liners.

PP (Polypropylene)

Used in food containers and automotive parts.

Recycled into industrial materials or storage solutions.

How to Reduce Plastic Waste

Choose Reusable Products: Opt for reusable bottles, bags, and containers instead of single-use plastics.

Recycle Correctly: Follow local guidelines to ensure your plastic waste is properly sorted and recycled.

Support Recycled Products: Buy items made from recycled plastic to encourage demand.

Spread Awareness: Educate others about the importance of the plastic recycling process and reducing waste.

Benefits of the Plastic Recycling Process

Reduces Environmental Impact

Recycling prevents tons of plastic from entering ecosystems.

Saves Energy

Recycling plastic uses 88% less energy than producing new plastic.

Creates Jobs

The recycling industry generates employment opportunities in collection, sorting, and processing.

Supports a Circular Economy

Promotes a sustainable system where materials are continuously reused.

The Future of Plastic Recycling

Innovations in technology are making plastic recycling processes more efficient. Chemical recycling, for example, can break down plastics to their original molecules, creating higher-quality recycled materials. Governments and industries worldwide are investing in ways to reduce plastic waste and improve recycling rates.

By participating in plastic recycling and adopting habits to reduce plastic use, we can make a significant impact on the planet's health.

[trendingfact]

Sortation Systems Market To Reach A Valuation Of ~US$ 2 Bn By 2027 Transparency Market Research delivers key insights on the sortation systems market in its published report, which includes global industry analysis, size, share, growth, trends, and forecast for 

[carpe-mamilia]

Costumes on the Cheap

[Text ID: "In case anyone else is super annoyed by every single new show ending up being “mid” and wondering why it’s basically because of the New Studio System™ of streaming services and the constant push for content at all cost as fast as possible, and here’s what you’re not noticing (that you actually do notice every time) that’s making it worse.

Basically because of the extreme push to make the ✨New Best Thing✨ that executives believe can grab a huge dedicated fan base, the pre-production time for creating MASSIVE new visual feasts is fractured into mere months alongside a severely lessened budget because of the huge extra costs of rushing each department to meet the proposed deadline. I can’t speak professionally for set design or VFX and cinemomatography, but I can say that the toll it takes on costuming and hair/makeup has made almost every new release from Amazon, Netflix, and Hulu have a B movie visual quality that’s becoming harder and harder to ignore the more we’re flooded with it.

For instance with the upcoming Rings of Power by Amazon, the reason Peter Jackson’s original trilogy stands so strongly 20+ years later is partly because the production spent years hand making every single piece of armor with real metal, hand dyeing all natural fiber fabrics and designing distinct embroidery and hairstyles specific to each race in middle earth that had continuity through the story. The natural dyes and dedicated layers of fabrics for elves/weaves for hobbit wool/dyes for Men had a much more muted medieval look, yet ethereal because of the slight detail you don’t REALLY notice but the depth draws your eye to every inch of the costume regardless. In figure 1 you can see they barely scrapped together an unnaturally gilded scale mail breastplate and just screenprinted a stretch long sleeve shirt to match underneath, all over a skirt in a single layer of a warped poly skirt. In figure 4 they just saved money on an elven wig altogether for a 2022 pompadour, with a velvet pleated priest smock (with crushed parts not even steamed out) and a neckline that isn’t tailored to fit like weve seen previously with Elrond or Celeborn.

Bridgerton (figure 2)I’ve bitched about enough already and it’s obviously not meant to be historically accurate which is totally fine, but the extreme RIT dye colorways on the multitudes on synthetic fabrics, the lack of topstitching on any of the mens tailoring and complete lack of any embellishment like beadwork or embroidery or proper undergarments to make the costuming fit correctly just make them look like a “regency gentleman” pattern from a McCall’s catalogue someone made really well for a Halloween party.

With the new house of the dragon show there’s already articles written about the wigs, and one of the main reasons they look so terrible is because they had to use synthetic hair for the Targaryen wigs. I’m 100% sure it’s due to budget, Daenerys’ wigs for season 8 were in the tens of thousands in cost. Because long white blonde human hair that has to be custom made into multiple wigs for a single character is a HUGE ask for a studio to approve budget-wise, there’s was most likely someone that decided to go with synthetic because of how many white bLondres they have in the show. The problem is that synthetic hair reflects light throughout the whole hair shaft, and it tangles extremely easily. With any shot where a character isn’t actively moving or is performing dialogue and the hair isnt being actively smoothed down every couple of second between shots, each flyaway is going to show up on camera if there’s any indirect lighting and look messy. Not only that, synthetic hair is also twice as thick per strand than human hair, so regardless of that the wigs are going to look bulky in an uncanny valley sort of way.

It’s been noticeable af with marvel the last few years, and it’s been super noticeable recently with every new show that gets rushed through to filming in order to get a release date within 1-2 years of a green light, but it’s going to be so fucking awful in 15-20 years looking back at all the potentially great but cheaply made media from this time period, the Shein era of Mass Media." End ID]

Original post can be found here

[theonetheycallhannah]

The Treatment of Captain Syverson-Chapter 10: Myofascial Release

Characters: Captain Syverson x OFC (Shane Benton)

Summary: Shane and Sy decompress after an emotional evening, Shane finds it difficult to get out of her own head and live in the moment, but Sy knows exactly how to help her, and not to be a complete hoe and spoil things, but…things get steamier than ever between our favorite therapist and patient duo.

Oh snap! You’re behind! Get on track here!

Word Count: 3.4k

Warnings:  Language, mature themes, alcohol consumption, the smut you’ve all been waiting for so patiently! (I hope it lives up to your undoubtedly high expectations!)

Author’s Note: Oh gosh, y’all, I am so nervous to post this. Somehow it doesn’t feel like my smuttiest smut. And like, all previous chapters have been kind of leading up to this moment. The good news is, I’ve decided to continue writing this story after the sex. I’ve got some ideas about where to go from here, and I want to keep it going. Plus, it feels wrong to write all of this and then just drop them without a big picture resolution. They’re gonna go through some shit, though. You have been warned.

Disclaimer: Unfortunately for me, Henry is not mine, le sigh, and all mention of him, his characters, any characters from his films, or his precious doggy, Kal, are strictly for transformative and recreational use. I neither ask for, nor accept payment for the work I post on Tumblr or AO3. Unbeta’d because this is for fun and escapism.

Tags: 

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@cavillryarchive

@summersong69

@titty-teetee

@bloodyinspiredfuck

@agniavateira

@oddsnendsfanfics

@omgkatinka

@thisismysecretthirstblog

@misslaland

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@tumblnewby

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@radkesgirl83

Hope I’m not forgetting anyone! If you want to be notified when I post a new chapter or work, I’ll be happy to add you to my tag list! Stricken blogs are getting personal messages from me when a new chapter is uploaded because Tumblr’s faulty tagging system will not stand in the way of me delivering what the people want!(?) lol! (Although…their lackadaisical notification system might…sorry for that. I have no control. lol!)

X@X@X@X@X@X@X@X@X@X@X@

Her living room was cast in the low light of the floor lamp she had left on. Intending to come home after dark. Alone. She hated walking into a dark house by herself.

Well, tonight, she wasn’t alone. And although Sy had been to her house before, this was different. They were officially a couple, and they were no longer waiting to express, to the fullest extent, their true affection for one another.

Ever the hostess, despite her nervous tension, Shane asked Sy if he wanted anything to drink, rambling off several options somewhat awkwardly.

“I’m fine, darlin.’” He assured her, stopping her at some point in the rant, before she was completely done. “Do you need something?”

“Umm, I think I should have a glass of wine.” Her eyes darted to the kitchen across her serve-through counter space and landed on her fridge. “I’m…I’m really nervous.”

"Why don't we watch a little TV for a while? You get you some wine, and I'll put somethin' on. What are we watchin', sunshine?"

"Ummmm, something light? Funny? Something I've seen." She wouldn't be able to process anything new or heavy right now.

"I'm on it." he kissed the top of her head and left her side for the sofa, where he plopped himself down like a comfy hound dog, and picked up the remote to her Smart TV.

She smiled as she busied herself in the kitchen. She decided she wanted a snack with her wine. She got a plate of cheese and crackers together first. Then she remembered she had some venison sausage one of her coworkers had brought in, and put that on the plate, too. She got out a chilled bottle of her favorite, cheap moscato and a stemless glass. She couldn't go in there without something for Sy, so she also got a glass of ice water ready for him. She put the whole spread on her big serving tray and took it to the living room.

Sy was already halfway through the first episode of Parks and Recreation.

"I saw this in your 'Watch it again' group, and thought maybe you'd like to re-watch it. I've heard you talk about it a lot, and I've never seen it." He didn't complain at her for taking forever. He just lit up when he saw her. Like it was the first time. And not the hundredth.

"That's perfect, babe. I brought some snacks out, too. Some cheese and crackers, and this really good sausage one of my coworkers brought me. You like deer?" she asked.

"One of my favorite pet names." he teased. "I do, though, yes."

They ate, and laughed, and watched about four or five episodes, it was hard to keep track. But after approximately half the bottle, Shane had summoned some courage. She started playing at the texture of Sy's jeans, running a fingernail across the coarse fabric.

"Hang on, love bug. I want to know somethin.'" she looked up at him, mildly confused. "I'm trying to think of a reason you need to get tipsy to sleep with me that I shouldn't take personally." he rubbed her upper arm, comforting her as no one had done since she was a small child. At least not that she could remember.

"No, Sy. It's not like that. You aren't the problem at all!" she paused. He let her gather her thoughts. She appreciated that he knew she intended to continue and that he didn't rush her to do it. He was patient. And kind. And all of that should have made this whole night easier. But somehow it didn’t.

“I’m the problem." She confessed after a long pause and a deep sigh. "I mean, I’m in my head about it all, I know. But it’s been…almost six years since I’ve slept with anyone, five and a half, at least, and I can’t seem to wrap my head around it now that I know it’s going to happen again.”

He pulled her body into his, squeezing her tightly for one of his soul cleansing hugs.

“Sunshine. Everything will come back to ya. We’ll just go as slow as ya want. I got all night.”

“Okay. Well, I guess, since I’m a bit sleepy from the wine, we should head to bed.”

Sy affirmed the idea, and made to help her put their snacks away in the kitchen.

She got out containers for their leftover food while Sy stoppered the wine, put it in the fridge, and washed their glasses.

She felt his warmth before she felt his touch. He stood behind her, radiating his particular brand of heat for a moment, and taking in the scent of her hair near her right ear. She heard a low rumble from someplace deep in him which slowed her efforts at the counter. His hands were light but very much present on her hips. A whisper against the fabric of the casual but feminine floral dress she’d chosen for the night. But she felt it like the weight of her favorite old blanket, heavy with years and warm comfort.

He kissed her temple, chaste and unassuming. But still full of desperation. She could tell that he was ready. Even without the alignment of their bodies completely giving him away.

“Don’tcha think this stuff can wait a couple hours, darlin'?"

His baritone, breathless in her ear, was soothing her back into the mindset of being with him. His feather touch still lingering at her hips and waist. She thought back to those seminars she'd gone to on manual therapy where the speaker talked in depth about the fascial tissues running all across the various muscles in the human body and how trauma to one part could cause tension in another like a snag in a sweater and how he taught the participants techniques to undo that trauma through myofascial release. Sy was slowly managing to unwind and unbind the taut fibers of her heart and relieve that pain that Elliott, in particular had set into place so firmly when he'd hurt her. Lied to her. Cheated on her. Gaslit her. Made her feel like she'd never be loved if she left him. Made her question the very idea of what love meant. Because if what they'd had was truly love, she didn't want it. Wanted no part of the games or the abuse or the manipulation.

Without fully realizing it, during this time of reflection and healing, Shane had given up the task at her hands and turned to Sy, open to his treatment, as he'd always been so open to hers…or mostly. And she let him kiss her, reciprocating. And hold her, returning his enveloping embrace. She even let him pick her up, wrapping her legs around his waist, resting them on his…all too well-defined bilateral gluteus maximus that she'd had to pretend to ignore for weeks. In the therapist side of her brain, alarm bells were going off. "His knee isn't fully healed! You're gonna undo all of the work you've both done so far! He's gonna hurt himself carrying you around!" but she ignored them and trusted him as he walked to her room.

Shane wanted to say that her bedroom was one of splendor. Immaculately made bed, and overall, the picture of tidiness. The reality was much, MUCH different. Glasses half full of water were everywhere (she may be forgetful, but at least she was optimistic), at least one coffee mug sat on the nightstand from the previous weekend when she took a morning cup of tea in bed with her George Harrison biography. Laundry overflowed from a sorting hamper in the corner, and her bed sat, unmade, littered with crumpled pillows, sheets, blankets, and the pajamas she'd slept in last night. She wasn't the kind of person to make her bed for reasons other than having company over, like the fancy company you had to give a tour of your whole house. She'd tried to be that person numerous times, but it never seemed to stick.

Tonight, though, the guilt that came with sub-par housekeeping skills wasn't plaguing her. Right now, all she felt was the weightlessness of being with Sy, wrapped in him, kissing him, and fully ready for what was about to happen between them, as he fell with her onto her bed. Their heads clunked together awkwardly, invoking a mutual wince, followed by bouts of laughter and playful kisses.

He hovered over her a moment, just taking her in. His fingers ghosting her forehead and cheeks to clear it of the whisps of hair obscuring her face. He seemed to examine her in methodical quadrants. Learning the curves and colors and every wrinkle, freckle, and pore. She was still fully clothed, but she'd never felt so bare and vulnerable.

He left her eyes for last. His gaze drowning her delightfully. Random song lyrics came to mind, "the serenity of a clear blue mountain lake" and she thought yes. That is the precise aesthetic of this man's stare. His expression was inscrutable. She wanted to say he looked happy and content, but she didn't want to presume.

He began tracing the floral pattern on her dress with his fingers, and said, "I really like this dress on you."

She laughed, "Oh, that's the beginning of the oldest line in the book. You know you've already got me in bed, right?"

"No, I…" he chuckled, embarrased. "I mean it sincerely. Seeing you in flowers like this…makes me think they bloom right from ya."

She propped herself up on her elbows, dumbstruck by this uncharacteristically poetic side of him she'd just been shown. She stroked the side of his face.

"The man who came up with the original pickup line is rolling over in his grave attempting to kick himself for not thinking of something so beautiful."

"Yeah?"

"HELL yeah. He would have gotten WAY more lucky with a statement like that."

"You're probably right." he said, pulling her up to hold her in his arms.

"If for no other reason that it would have landed him a higher caliber woman than the floozies that he probably got."

He moaned his ascent against her neck, and continued, "Which would have meant a lot more getting lucky down the road, right?"

"Traditionally speaking, I'd say yes." she laughed, her fingers in his hair, which was barely long enough for the action.

"Okay, I know I said I liked the dress, but…" he tugged at the hemline tucked just under her hips and pulled it off her willing body.

"About time, cowboy!" she smiled, breathless.

He continued kissing her as he unhooked her strapless bra and tossed it aside, into the abyss, where the dress had gone. She was so dizzy from him that she barely noticed he was laying her down until her warm back hit cool sheets. She could feel his touch everywhere at once, despite the fact that he was really only making two or three points of contact.

Shane trembled as Sy peppered her soft body with kisses. She couldn't recall shivering like this before, especially when there was nothing but warmth, even heat, around her. His beard grazing her hips and thighs was sending tremors through her unlike anything she'd ever felt. She was a goner, and he hadn't even truly begun.

His breath against her skin was like lightning in the clouds. A storm began forming within, and all around them from his work on her…and eventually in her. He took the time to remove both of the shirts he was wearing--plaid cotton blend and thick white jersey. She reached out to run her fingertips over his chest, covered in a manly stand of thick, dark hair. It ran over his pecs and down his abdomen…farther, she knew, than was exposed right now.

She wanted to touch him. To return the favor. To stir in him the same tempest he'd stirred in her. She unbuckled his belt and unbuttoned and unzipped his jeans. She was a little surprised he wasn't resisting her, but pleased, all the same. She took the heavy weight of him out in some shock…she'd caught outlines and silhouettes often since they'd been together, but he hadn't let her go this far yet. It had made her feel a little slutty at the time, but now, she understood. He was…protecting her, in a way. She handled him curiously, gently, as he'd been with her. Her apprehension, however, grew with him.

"Sy, you're…I…" she wasn't sure what to say. But she had concerns about being rent in two by him.

"I think I remember tellin' ya you wouldn't be laughin,' sunshine." he grinned at her, breathless as she stroked him.

"You were right. But don't get too used to me saying so." she smirked back at him.

He pulled away from her, reluctantly, but eager to get back to tasting her.

She couldn't comprehend what he was doing. But it felt incredible. No one she'd ever been with had made her feel like this. Like her blood was effervescent and her body was aglow like embers. His reaction to her was as much a part of the pleasure as his ministrations themselves. She could tell he was enjoying himself which fed her desire.

She felt a tension coiling inside her, something similar to climaxes past but she could tell, much more intense. What was different? Other than Sy, she didn't know. But it was working. She moaned and writhed into him.

"Yeah, sugar. Let that out. I wanna hear it." he quickened, driving her mad and sending her spinning into her bliss, incomprehensible words and sounds escaping her, growls of satisfaction escaping him, but he didn't stop.

She felt his fingers working inside her to pull another climax from deep within her. This was new for her, as well. Not only was he putting her first, but he was making her a priority in double measure before taking anything for himself. As that pressure built in her again, she felt his gaze on her, hungry and adoring, and she heard his grunts of exertion and she thought, lust. She wasn't sure how many of his digits he'd managed to slide into her, but it felt splendid, and she wanted more. She gripped his arms to convey this desire, words caught in her throat. He dove headlong back down to her, adding his mouth to the onslaught of his hand, and before she could get out more than a "Fuuuu" she was falling apart again, her body spasming and writhing beneath his utter oral perfection. Eventually, she finished the word when she ran out of air and had to take in a large gasp on the "uck."

She watched him kiss around her thighs and hips, in awe of him in his entirety.

Breathless, she asked, "Why are you so good to me, Sy?"

"Well, a wise woman once told me, 'good go to heaven.'" he looked coyly up at her. "I think I'm there, sunshine."

"Ya know, you're the best patient I've ever had." she smiled.

"Well, I should hope so." he boasted as he kissed at her breasts, nipping at the taut, dark bud in the center. She gasped. He let go and continued his ascent.

He had a point. Who could have qualified as a "better" patient than him when he'd given her so much? Even more than what they were doing tonight. His kindness. The love he had always shown her, even when she wasn't ready to see it. His strength, but also his vulnerability that she seemed to be the only one ever to see. Combine that with the fact that his mind was basically a steel trap for her every word and it would have made him more than perfect enough for her.

But as he broke away from her kiss to take off his jeans, she marveled at the shape and size of his whole body. Those thick, strong arms, the broad, defined torso, the massive, powerful legs of an avid runner, and a face that God Himself would probably be jealous of, if He was capable of the feeling. This gorgeous exterior that Michelangelo would have killed to sculpt, combined with all of his other amazing qualities, and he was almost too perfect.

He cuddled up next to her, reached up, and caressed her face, still flush with pleasure.

"I could look at this face, and nothin' else for…damn… hours. Maybe days."

She blushed and cast her eyes down, and half whispered, "The feeling is mutual."

"Then why're you lookin' away, darlin'?" he tilted her chin up. "That shy business is cute and all, but you don't have to hide from me, sweetheart."

"Again, it's not you, it's me." she chuckled, nervously.

"You wanna call it a night, for now?" he asked without a hint of disappointment in his voice.

"You're kidding, right?" she raised her eyebrows. "You did all that work getting me ready for you, and I won't let that be a wasted effort." she pulled him to her and into a deep kiss, rolling onto her back and bringing him with her.

"Oh, sugar, that wasn't no wasted effort. That was time well spent. No matter what." he said in short bursts when he could pull away from her lips.

He lifted himself up and over her, kneeling between her legs, already open for him. She thought he should know how ready she was. Thought it should be painfully obvious. But he asked anyway.

"You ready, sunshine?" he asked, as he opened the condom and rolled it on…damn he was slick! She hadn't even noticed him get it from wherever he'd had it. She presumed his jeans pocket, which would explain much. She had been very distracted by his naked perfection.

"Yes. Please." she had been struck with an urgency as they stood here on the verge of everything.

He sunk slowly into her, the contentment of coming home spread over his face, the bliss of being whole spreading over hers. No, she thought. She was more than whole. She'd always felt mostly whole during sex. Sy made her feel as though she was overflowing with herself. And not just because she was overflowing with him. The way he moved in her, over her, with her, it was like he was afraid she'd turn to vapor around him before he could finish. Like she was nothing more substantial than a bubble full of smoke, and he thought she may burst and disappear. Although, you couldn't tell from the tight grip he kept on her. A bruising grip that she thought might have had a chance of popping a football. She didn't care. She wanted him to touch and hold her like this until they had no more to give each other.

As they built toward their mutual undoing, the world and everything in it faded away. There was no personal drama or injury. Nothing but the euphoria of this newfound oneness. The caresses and thrusts and groans of pleasure were the only things that mattered. Each other, and what they found therein.

“Shane.” He whispered to her, his pinnacle nigh.

“Sy!” She whimpered, that familiar tension approaching its apex.

He kissed her, as if he meant to permanently emboss her onto the bedding and onto his lips. She reeled as she came undone, little sparks of light obscuring her vision for a fraction of a second. He followed her closely, breathless and spent.

He laid down beside her, as close to her as possible, and began drawing mindless circular patterns on her stomach and around her breasts.

“Wow.” She said, almost under her breath.

“How ya feelin,’ sunshine?”

“Mmm, boneless. Dazed. Half wishing we’d done that weeks ago. I didn’t have a clue what I was missing.”

“Oh, I think you had an idea.” He said as he neatly doffed and disposed of the prophylactic in the waste can by her bed.

“Okay, a bit.” She chuckled. “It’s not like you can hide that…thing.”

“And I don’t try to, darlin’!” He kissed her forehead “Well, I don’t hide it just anywhere, put it that way.” He smirked at his dirty joke and she swatted him for it.

“You’re bad!”

“And you love it.”

She couldn’t argue. She loved his badness and his goodness and everything in between.

Up Next: Chapter Eleven- Discharge Plan 

[sweetsmellosuccess]

Sundance 2021: Days 6 & 7

Films: 5 Best Film of the Day(s): Users

All Light, Everywhere: In 2015, during the riots and rebellion in the immediate aftermath of the Freddy Gray killing by local police, the Baltimore Police department agreed with a private entrepreneur to send up a secret surveillance plane over the city, in order to monitor, in clear HD images, those neighborhoods most primed for a violent reaction. They did this without informing the mayor’s office, or other local government agencies. This is only a facet of Theo Anthony’s far-reaching doc on the subject, not just of surveillance, but also the Act of Looking as any type of objective measure of reality. Anthony stays fixated on Baltimore, his hometown, when he tours the AXON corporate headquarters in Arizona, the makers of the most used police body cams and taser weapons, where the company CEO enthusiastically walks through the offices and production warehouse, as these items are being manufactured. Not surprisingly, despite their near-ubiquity amongst American police stations, AXON’s most lucrative asset is its intense data collection, via its evidence.com portal, where law enforcement uploads thousands of hours of video each day. Anthony also spends time with marketing focus groups, camera-toting carrier pigeons, and scientists exploring the framework of our visual understanding. It’s at times an abstract experience  —  the film communicates its intentions largely through bracketed text blocks, and a voice-actor, who acknowledges their role in your understanding the film’s premise. He also makes frequent use of past scientific thought on the subject, including the creation of the earliest forms of motion picture recording, to best exemplify the more we attempt to create visual “truth,” the more the standard slips through our fingers. Notably, the AXON recording equipment is designed to give the idea of full-disclosure with respect to the police’ behavior, as a means of protecting the community, but it’s clear that the appeal to law-enforcement is actually quite the opposite: Providing enough legally permissible evidence to either exonerate their officers, or to put the plaintiff behind bars. As Anthony’s pithy film points out, the act of seeing is still an act.

The World to Come: It is, of course, deeply unfair to compare each film to the highwater mark in a given genre  —  to say, for example, ‘Well, I quite liked that hard-boiled egg, but it’s no souffle au fromage’  —  but the current spate of turn-of-the-century hardship lesbian romance films makes it near impossible not to put them in canonical order. Leading the way, it must be said, is the first of this current iterations of romances, Céline Sicamma’s excellent Portrait of a Lady on Fire, which took my breath away. If the low-water mark of this triad is last year’s Ammonite, which relied far too much on its esteemed leads to do all the heavy lifting; Mona Fastvold’s film nestles somewhere close to the latter, but nowhere near the rarefied air of the former. What Fastvold does make use of is the natural environment in which the film was shot (Bucharest, as a believable stand-in for Upstate New York), filled with snow, and mud, and the damp gray features of that clump of woods in the valley of the mountains nearby. The story gives us two farming couples, both miserable, albeit in slightly different ways. Abigail (Katherine Waterston) and Dyer (Casey Affleck) genuinely care about one another, but the loss of their young daughter to diphtheria has turned their marriage into a sort of continual wake; and Tallie (Vanessa Kirby) and her dour husband, Finney (Christopher Abbott), who don’t have any children, and with Finney’s grimly cruel nature, aren’t likely to have any. In their shared loneliness and misery, Abigail and Tallie become friends, then eventually lovers, finding in each other’s arms, the wonder of worlds and joys otherwise lost to them. The film certainly means well, but as told mainly in journal entry and letter VO  —  Waterston’s voice so muted and unwavering, she sounds like an NPR journalist reporting a story  —  it's so modulated and chaste, the emotional arc never rises beyond the slightly bowed. We aren’t given enough privvy into Tallie’s own state of mind, so thoroughly are we inside the consciousness of Abigail, to feel the full weight of her decisions. It’s earnest, but not particularly moving.

Flee: You don’t see a ton of animated documentaries, but in the case of Jonas Poher Rasmussen’s harrowing immigrant’s survivor tale, there was no way to catalogue the early life of Amin, the film’s subject, without extensive recreations in the first place. As a result, there is a strikingly evocative visual element to the manner Rasmussen and his animation team document Amin’s journey from war-torn Afghanistan, to Moscow, to Estonia, back to Moscow, and finally to Copenhagen. After his father is taken into custody by the Mujahideen in the late ‘80s, Amin and his mother, brother, and sisters fly out to Russia, in the months just after the fall of communism. From one chaotic country to another, the family desperately try to leave Russia for western Europe, but with unreliable traffickers, and a lone older sibling in Sweden, having to scrounge every penny he makes in order to make arrangements, things move in an agonizingly halting way. Eventually, Amin gets safely to Copenhagen, but is allowed to stay only by having to lie to Swedish authorities that the rest of his family is dead. If that weren’t enough, adding to Amin’s fears, he feels the need to tell his family  —  now scattered about Europe  —  about his being gay. Through extended interviews with Amin, Rasmussen teases out his friend’s full story, spread out over multiple flashbacks, while interlocking with Amin’s current serious relationship in Copenhagen, with a man he plans to marry, if only he can finally accept and trust in the idea of having a permanent home. Rasmussen’s genuine friendship with Amin adds a warm sheen of empathy to the proceedings, even in the ways not everything makes perfect sense. You get the understanding that Amin, having long buried his extremely difficult past journeys, is hesitating, even now, to fully unburden himself all at once, as if he has to take the time to reconcile all the different versions of his own story he’s had to live with, in order to make sense of it all.

Hive: In the era of #metoo, and Sundance’s continued efforts to represent female-helmed films at the festival, it’s becoming ever more clear in film after film, the biggest impediment to systemic change in culture and government is the ever-so-delicate male ego, which protects itself from damage more often than not by absolutely brutalizing anything that would dare threaten it. In Blerta Basholli’s excellent debut feature, based on a true story, the year is 1999, and in the aftermath of the grisly Serbian War, many communities are still awaiting word on the many missing, presumed dead family members who were taken away and will very likely not be coming back. One such half-widow is a fierce woman named Fahirje (Yllka Gashi), who still takes care of her missing husband’s father (Cun Lajci), as well as her two children. With funds dwindling, and her honey business not faring as well without her husband, a seasoned beekeeper, Fahirje gets a drivers’ license and begins a new business, hand-crafting jars of ajvar, the Serbian roasted red pepper sauce, and selling them at the local grocery. Despite violent, brutish opposition from many of the men in her small village of Krusha, whose favorite put-down is to call her a “whore,” Fahirje soldiers on, eventually enlisting many of the other village widows to join her business. Through it all, she has to contend with her own emotional pain  —  her husband vanished years ago, but has yet to be identified amongst the remains of the mass graves that become the final resting place for many Serbians. Basholli shoots the film primarily as handheld verite, documenting the day-to-day building of the business as well as the emotional upheaval of her protagonist. In this, Gashi, with her smoldering eyes, the lines of determination etched into her face, is a revelation. Fahrije suffers the multitude of slings and arrows  —  most miserably coming from her own teen daughter, who is embarrassed at first at the attention and gossip her mother is getting   —  with dignified solemnity. By the end, she has empowered a generation of women, while paving the way for countless others. Not all revolutions are won on the battlefield.

Users: It’s indeed jarring to see a film so dedicated to visual sumptuousness, so satisfyingly transfixing in its use of pattern, motion, and juxtaposition, but all in service towards an epitaph to our inevitable extinction. Natalia Almada’s cinematic essay uses its visual poetics to lure us in, to bewitch us with its beauty as it gently eases the blade of the knife deep in our midsection. A mother of two young children, Almada begins the film contemplating her babies, and the world in which they have been brought into, voracious in its use of natural materials, polluting the oceans with miles of fiber-optic cable, burning our forests to the ground, exploiting the Earth for every gram of mineable material, every ounce of oil, all to fill the growing chasm between ourselves and the formerly natural world in which we used to inhabit. The film moves at a placid, even-keeled pace. There are many beautifully composed slow-fixed shots of fields, trees, cityscapes from high above; juxtaposed against contrasting conceptions: an overhead drone shot of the Pacific’s cresting coastline cutting to an AT&T manhole cover; her own child’s face lit by the glow of a computer as he fixates on the screen in front of him, to a distant plane’s long vapor trail through a swath of sky; an infant breast-feeding to the endless rows of sprouts in a hydroponic lab. There is so much stuff, so many things, from shipping crates to solar panels, all slipping past the lens of DP Bennett Cerf’s cameras, so as to become something akin to a sort of visual intervention: You can see it, the film is telling us, you know very well how this is going to end. Almada doesn’t provide answers, or even firm conclusions, exactly. These are the things she is wrestling with in her own conscience, the horrific implications of otherwise deeply pleasing symmetric images. The film is a stunning ode to our demise.

Sundance goes mostly virtual for this year’s edition, sparing filmgoers the altitude, long waits, standing lines, and panicked eating binges  —  but also, these things and more that make the festival so damn endearing. In any event, Sundance via living room is still a hell of a lot better than no Sundance. A daily report.

[bang-to-the-tan]

Vessel Euphoria Chapter 2

► SciFi!AU

Thriller

Warnings: Major Character Death, Mind Control, Upsetting Themes Throughout, Alien Parasitism

↳ Summary: 6 months ago, the crew of the space vessel “Euphoria”—destined for a scientific study on a distant planet—dropped out of all communication. You and your fellow crewmates are inbound to reestablish communication with home base, but things are not as they seem and the fate of the mission is placed in grave danger.

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LOG DATE: 16.12.2212

Space Vessel Euphoria Model 2C-4S

Biology Specialist Kim Taehyung

 The camera refuses to focus for a moment after the title blinks out, filled with bright blue light and a dark expanse around what looks to be a dinner plate. A finger flits over the screen, blown-out around the edges and made huge by its proximity. The view shakes as Taehyung fiddles with the controls, tutting once in impatience.

“Ahh, why won’t this focus?” He hums, off-screen. You can hear his pout. Finally, he toggles something and the picture comes into clear view. It’s a planet, filmed from one of the window-ports in what looks like the recreation room. It’s huge, and now that you can see it properly, it’s beautiful, almost glowing in the velvet sky.

“There, gotcha.” Taehyung makes a small, triumphant noise. “See it?”

His hand reappears into frame, pointing this time, pressing against the thick sheet of fiber glass that separates his finger from the vacuum of space. “There she is. That’s where we’ve been going for the past five months. It’s right there.”

The camera shakes as he flips it back around, and his face fills the frame as he sets the device down gingerly on some surface nearby. He settles more comfortably in his chair, throwing a grin upwards at the port over his shoulder.

“This is Biology Specialist Kim Taehyung of the Vessel Euphoria,” he says, and although his words are professional, his brow is quirked just a little too solemnly to be serious. “The spacecraft which is now hovering a few hours from our new home. We’re due to be landing soon, which is why I didn’t make a report for this week.”

His eyebrows twitch upwards, lips tugging into a frank half-grin. “I got reprimanded for that. Apparently that’s bad. So! Let’s see. What’s new with biology…”

 You feel an answering smirk crawl across your own face at his exaggerated ponderous expression. In lieu of his actual study basis, Taehyung’s logs pre-landing were meant to be check-ins about the physical wellbeing of his crew—a fact that he carries with such disdain, it’s unreal. “Why would I need to worry about the crew?” He complains in one such log, about two and a half months into their voyage. “Have you seen Jungkook’s abs?”

Even though you don’t share his profession, you can share in his frustration. Being a communications expert doesn’t mean much when you’ve been stuck with the same three guys for months. After a while, you learn how to deal with their individual quirks and how to solve grievances with the kind of skill expected from their mothers. Sometimes, you miss being surprised by people.

“What’s new with biology…” he says again, casting a wide-eyed glance upwards, full lips moving into a pout. He blinks, and the way his eyes flit back to the camera incidentally makes your belly do a flop. That’s another thing Taehyung does in his logs. What can only be described as ‘bedroom eyes’. You don’t understand why. Who at central command is he flirting with? Or is it somehow an accident? The perfection in his timing, the way his tongue flits out briefly, the way he shifts back to stare almost predatorily through your screen, makes you doubtful.

“There’s nothing new with biology.” He says finally. He blinks again and rolls his eyes, leaning back more comfortably. The sultriness, the smooth player façade, evaporates instantly, and you’re left with a boy—bored and unsure of his place in the world. “Everyone in this crew is healthy as a horse.” He hesitates, staring off into some undetermined corner of the room.

“Our scans came back positive for life,” he begins anew, already catching an entirely separate train of thought, eyes distant. “Lots of life. Plant life especially. The runway that was put down before us is already starting to grow over. Jin—ah, Specialist Kim Seokjin—he says that if it was just a little bit more overgrown, we probably wouldn’t manage a secure landing. Which sounds weird to me.”

Taehyung looks back to the camera, eyebrows cocking conspiratorially.

“Obviously we made sure to lay down the scorcher really thick—what kind of plant life can regenerate that quickly?” He shifts. “I can’t wait to get my hands on some samples.”

He pauses. Moves again, straightens, as though suddenly remembering. “Oh! The—ah, the camera! I’ve sent in a request for a better camera. For biology purposes. Please see that it gets here soon.” He frowns, gaze drifting away once more. His voice is soft, thoughtful. “It’s already late, but…”

 Your comm crackles into static again, and you’re distracted from the rest of Taehyung’s log. His voice continues in the background.

“Requesting all hands to flight control immediately.” It’s Jimin. He sounds almost panicked. You grab it swiftly, already moving to stand.

“Communications, copy.”

The screen flickers and shuts down with a sharp noise when you turn it off. It only takes a moment to clamber through your quarters and make your way to the flight control room, stepping in a brisk walk.

“Maintenance copies.” Shockingly on-time. Even Yoongi won’t afford a quip when Jimin is obviously upset by something enough to call attention to it. The entire crew’s attention, no less.

The control room doors open with the fssh of pressurized air, leading into a tech head’s paradise of a room. Wall-to-wall communication grids and outlined maps of the ship’s systems, each lit with indicators. Buttons, levers, switches—every instance of navigation is managed by this room, sorted by purpose. You send them a cursory glance, wondering what it is that has your colleague so distressed, but they all look fine. Everything functional, working just as intended. You turn away with a look of confusion. Jimin is seated at his usual chair by the central navigation hub at the front of the room, frowning at the screen in front of him. Officer Jung hangs over the back of his chair, staring intently at the self-same monitor. The display is taken entirely up by…flowers? It’s an ocean of red and blue, waving gently in some alien breeze. Even from an aerial view, they stretch as far as the eye can see. Millions of them. It casts a weird pallor over the entire room, dances over everyone’s faces. It’s almost pretty.

“Preliminary landing drone,” Jimin explains. You swallow down the urge to remind him that you went through the same schooling he did. You know what the flashing symbol in the corner is—used to draw it on the corners of your navigational notes. You let him continue anyways. “That’s the flight path.”

You blink.

“What do you mean ‘that’s the flight path’?”

“I mean that is the flight path. Look at the coords.” He points a finger to the screen.

“Are they the wrong ones?”

“No, I didn’t put in the wrong ones.” He snaps. “That’s the landing strip.”

“No offense, but that can’t be the landing strip, Jimin.” Yoongi suddenly pipes up from behind you. “That isn’t a landing strip.”

“I checked the coordinates myself,” your Officer says quietly. “Twice.”

“There’s no way. The Euphoria sent the scorcher ahead before she landed—it would have cleared the runway before she hit.”

“Then it grew over.”

“In a year?”

“The crew logs,” you interrupt. “The crew logs from around their landing timeframe. All of them mention how quickly the local plant life grew back after being pruned.”

“We all saw the logs,” Yoongi argues back, “but there’s literally no way. After the kind of radial damage from the scorcher, even if it was just wide enough to safely land, and if no one maintained the runway, it would still take years for local plant life to regain even half the ground. Years. Multiple of them. I think the coords are wrong.”

Jimin spins in his chair, jumping to his feet.

“The coordinates are fine,” he spits, eyes wide. “I already told you, I know how to do my job.”

“Then the system is on the fritz.”

“I know how to maintain the system, too, thanks!”

“Guys—” you start, stepping forward between them, arms raised placatingly.

“Stand down, both of you,” Officer Jung says. Neither of them move. “Specialist Park, what are our options?”

“We have to reroute, sir,” Jimin replies, but he’s still glaring at Yoongi, who only returns his gaze levelly.

“Rerouting so close to the surface is dangerous, sir,” Yoongi snaps back. “Inertia will pull us off whatever course we chart this late in the landing.”

“Can we risk trying to land on the strip when it’s hidden like that? Is that an option, Specialist Park?”

“It would be driving blind. Unless we drove it completely straight, directly onto the strip, we risk hitting irregularities in the terrain. Causing damage to the ship and the environment. Possibly the main tower itself.”

Yoongi goes to open his mouth again, but you look to the captain.

“Permission to speak, sir.”

“Granted, thank you for asking, Not-Specialist Park.”

Yoongi looks away with a barely-hidden roll of his eyes and a smothered scoff.

“We don’t have contact with the Vessel Euphoria. If there is anything of importance to the mission hidden in the undergrowth—if there are crew members hidden in the undergrowth— we’re too liable to hit them.” You gesture to the screen. “It goes on for miles, sir. Considering our lack of communication…we can’t risk damaging Euphoria’s mission or crew.”

“Then our options?”

“We either stay course and risk damage to the area by trying to navigate the main landing strip or we reroute to the secondary station and risk damage to the ship from the shift in flight path.”

“How far away is the secondary station?”

“200 klicks, give or take.”

“That’s one hell of a divergence,” Yoongi butts in again. Hoseok ignores his lack of etiquette this time, too deep in thought. “At the rate we’re travelling, we’re absolutely gonna knock the terrain.”

“Can we get estimates for potential damage?”

“Not before we run out of range,” Jimin insists. “We don’t have more than ten minutes before we fall out of the range we need to charter a turn. This thing can’t turn on a dime, not at the speeds we’re going.”

“But we can get estimates for potential damage.”

“While we’re already on the path. Not before.”

“And the landing will be easier by the second tower.”

“The terrain is flat, has to be to establish a base. The radius is wide enough that even if we miss the landing strip, we can land,” you add. “Minimal damage to anything important.”

 Officer Jung hesitates. His tongue bulges the side of his cheek. He blinks, shakes his head to the side and finally looks back up, meeting all of your eyes.

“Specialist Park, reroute our path. Aim for the secondary tower but keep the coords loose. Worst case I want to be behind it, not through the damn thing.”

“Yes, sir.”

“Specialist Min. Damage estimates. Get to work on controlling it before we hit. Move vitals out of any vulnerable positions. I want to know what we’re going to need repairs on, and what we’ll need replaced. The secondary tower should have the supplies we need.”

“I disagree with this decision, sir.”

“I’m not risking running over the people we’ve come here to assist, Min. If we don’t have a visual and we don’t have contact with the primary hub, we have to assume it is unsafe to land there. You can disagree all you like. And finally—“

“Yes, sir,” you straighten.

“Send out another landing drone. I want it at the secondary tower as soon as possible. We’ll land there, restock, repair, refuel. From there, we’ll take a buggy and make our way out to the primary hub. Maximum an additional two days added to our itinerary. Do we understand?”

“Yes, sir.” All of you echo, but you are the only one of your crew that doesn’t sound bitter.

“I’m going to be getting in touch with central command and letting them know about the divergence. I want sound-off and status reports before we land. Scatter.”

 Yoongi turns a little too briskly on his heel to walk out, and your officer follows him after a pause and a glance about the room. Jimin glares scathing holes into Yoongi’s back.

Your mind is already racing you to the drone cabinet, reeling with procedures and potentials and logistics. It unlocks easily, swiftly, under your hand, the pre-set coordinates for the secondary tower just a tap away. With a klunk and another hiss of air, the doors close around the capsule, shunting it downwards violently, throwing it into space. You step back to better reach the panel on its side and navigate the screen to connect, giving it a brief countdown to warm up.

Three, two….

On ‘one’, you’ve connected. By ‘zero’, you’ve pulled up the pathfinding systems. While you’re there, you order the initial drone back to recharge.

“Thanks for taking my side,” Jimin pipes up. You hazard a glance at him over your shoulder. He’s still hunched over his station, eyes studying the screens with his brow furrowed and his lips pursed. Anyone who didn’t know him better would think he was incredibly engrossed in his difficult work. But you know that much of the actual math is done by the AI embedded in the controls. And you know him better. He could reroute in his sleep; even a turn like this.

“I wasn’t taking a side,” you reply, turning back to your screen. The drone’s speed is excellent, but not so good that you aren’t now trapped in here trying to maintain Jimin’s bruised ego. You love him, really, but sometimes he needs a delicate touch. “It’s a logical scenario and I was telling Officer Jung what logical course of action I suggest we take. There aren’t life support systems on the secondary hub, so there isn’t liable to be any crew members—just in case we can’t navigate those plant things.”

“I can’t believe Yoongi would rather believe that I put in the wrong coordinates.”

You repress the urge to sigh.

“Jimin…”

“We’ve been doing this for years. He knows I wouldn’t make a rookie mistake like that.”

“Everyone makes mistakes.”

“Not me.”

Despite yourself, you cast another look at him. He’s got his head propped up in one hand, clutching at his hair, still frowning downwards, but distantly. The lights and symbols spinning beneath him bathe his profile in greens and blues.

“Not us.” He adds, quiet. “You know I try so hard to keep up with everyone.”

“Jimin,” you interrupt, before he has the chance to spiral out of control with any continuation of that thought, “You aren’t ‘keeping up’ with anyone. You were second in your entire class.”

You spare a glance at the drone’s vitals before turning away and going to stand by your crewmate, who now looks like he’s about to start melting into the console in a puddle of despair and self-deprecation. When you put a comforting hand on his shoulder, he turns his head away.

“He was just trying to look for an explanation. It doesn’t mean he doesn’t have faith in you. You’re a fantastic navigations specialist, Jimin. He knows that. We all do.”  

There’s a pause.

His fingers creep up over his shoulder, brushing yours.

“Sure. Thanks.” He murmurs. You almost can’t hear him.  

“Of course. What am I here for, anyways?”

“The mango shakes. Can’t get enough of them.”

You shove at him, feeling your heart lighten at the mischievous grin curling his lips when he jolts forward. “Fuck you, strawberry hog. I’ll get you, my pretty. And your delicious shakes, too.”

He snorts at that, and the drone pings to get your attention. When you return to it, you pull up the camera and squint at the grainy texture of the video stream. You frown.

“It might have been a better idea than you thought, anyways,” you say.

“What do you mean?” “There’s just enough burnt away for the ship to land, not far from the hub itself.”

“What?”

You hear a scuffle as he rises, and then he’s at your shoulder, peering forward.

The same field, waving in the breeze, of bright blue and red flowers, stretching off into the distance. But there, in the corner of the screen, sits the dome of the secondary communications hub. The towers themselves rise up just behind it, framed against an almost perfectly flat horizon. And in the foreground, entire sections of what looks like char. Burnt up, shrivelled, blasted away. The land has gone flat and sallow, bare enough for a safe landing, so long as you timed it just right.

“…The scorcher?” you hum, brow furrowing.

“No. No, the scorcher didn’t do this. Look at the edges. There’s no pattern.” Jimin’s finger rises to press against the monitor. “This was done by a person”

“What…? How?” “I have no fucking idea.”

“Somebody on the Euphoria had…what, a flamethrower…?”

“Hmm…Actually, I tried to acquisition firearms before we left.”

Your head tilts to better give him a disapproving look.

“You never know,” he insists, wide-eyed. “But anyways, they said it was

absolutely a no-go. The Euphoria’s mission is study-oriented, and none of the initial scans came back with any life that couldn’t be taken out with a tazer. Worst-case.”

“So you’re saying you think someone built? A flamethrower??”

“Could have. Disassembled the scorcher, repurposed it?”

“Why? Why go through the effort?”

 He frowns deeper, goes back to studying the screen. He taps against it with one delicate fingertip and you allow him to parse the menus and commands without any argument—even though technically your officer had assigned that particular task to you. After Yoongi’s comment, Jimin will be doing his best to excel in everything he touches from here on out. Best to let him get the worst of it out on small stuff, like the drone. You can’t imagine what he’ll be like once you’re actually in front of the Officer Kim Namjoon.

“Look.” He gestures again, and you follow the motion. “It’s a trail. You can see where the flowers have grown over.”

It does look that way. A big, jagged shape burnt around the front of the hub, tapering off into lighter, newer, younger vegetation to the west.

“Bet you that leads to the primary station.” He says in a hush.

“I’d take that bet.”

He meets your eye again.

“Another route to the secondary tower?”

“Considering how quickly the entire landing strip was recovered, that means it’s recent.”

“Before the communication breakdown, even, do you think?”

“Maybe.”

“…Is that a good or a bad thing?”

You shake your head, still searching the monitor.

 “I don’t know.”

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[trendingfact]

Sortation Systems Market To Reach A Valuation Of ~US$ 2 Billion By 2027 Transparency Market Research delivers key insights on the sortation systems market in its published report, which includes global industry analysis, size, share, growth, trends, and forecast for 

[injectionmouldmaker2-blog]

Plastic-type material Injection Molding: Past, Found and Future

Injection Mould Maker Plastic shot molding is a course of action in which forces liquid plastic-type material right into a mold to help make custom cheap name dishes, plaques, indicators and merchandise branding aspects. Once the actual plastic cools as well as confirms, it releases in the mildew to form a assortment of plastic material parts with regard to any industry. Famous utilizes of injection-molded incorporate: machine name plates, brand china for industrial gear, auto emblems, vehicle printing and also license plate slots, while well as product identity regarding recreational products.

Injection Mould Maker

Injection-molded plastic-type name plates along with other ingredients are created by a device this consists of three standard components:

A mold that can be created to make any size and appearance that is certainly needed A clamping device that clamps in addition to contains the mold jointly over the whole process A injection product will after that inject molten plastic-type material in to the mold, where it can remain until it possesses enough cooled and published

The actual molten plastic utilized for injection-molded products is usually produced by burning smaller plastic pellets, that happen to be raised on into an injection equipment heating the pellets to your molten or liquid application form.

Once the now smelted cheap pellets reach some sort of established temperature the partially liquefied is forcefully shot in to a mold. The rate and stress of this particular process is managed by simply a hydraulic cylinder which, once engaged, forces the particular liquid plastic into typically the form.

In "dwell" cycle from the plastic injection creating practice, the plastic is definitely left within the mold for you to ensure that it absolutely fills the mold then allowed to cool to help the point where this solidifies and the ideal thing is produced. The idea is and then ready intended for secondary processes seeing that decor, sub assembly, or even transport.

The injection-molded plastic material procedure allows manufacturers to generate customized plastic name discs as well as components that would become very costly to make because intricately by making use of traditional machining methods. Injection-molded plastics likewise saves money, time and attention by letting many components of the exact same component to be built concurrently, from the very same mold; every single copy equivalent to the a single ahead of it. This process in addition reduces labor costs by means of minimizing the need to get manual labor via personnel. There is also close to zero wasted material, since any rarely used or still left over plastic could be re-cycled to be reused in the operation

The History of Cheap Treatment Molding

Plastic injections creating originated with chemists throughout Europe and The particular United States have been trial and error with plastics. Originally ?t had been done by hand and also pushed into a shape using Parkesine but that proved to be as well delicate and flammable. Ruben Wesley Hyatt is often the official developer of plastic-type injection creating and the actual process has a prosperous history with brilliant heads.

John Wesley Hyatt was obviously a creative inventor and created the processing of celluloid plastics. This was a amazing action for a new young printer by The state of illinois who took about the difficult task from the New You are able to Pool Company to exchange the cream color that had been used in billiard projectiles.

So began his occupation in plastics engineering while he and his buddy Isaiah started making a number of mixtures with regard to checkers along with other objects. As time passes hoping various mixtures, Bob merged nitrocellulose, camphor in addition to alcohol consumption together. He hard pressed all these ingredients into a rounded steel mold that has been hot and allowed the idea in order to cool. When the particular material ended up being removed through the mold, they understood that he had effectively develop a billiard ball consisting of plastic-type material. Thus started the process of cheap injection molding.

John spectacular brother Isaiah patented this procedure of producing celluloid with 1870 and continued through making dentier from their own new material which usually swapped out dentures made of silicone. Thus began the production process of celluloid jackets. Steve was quite similar to the Kc Vinci associated with industrial invention since he / she also was traced using the invention of typically the regular sewing machine and spinning bearings all of which often contributed heavily to be able to producing.

Today, Celluloid as well as Cellulosic plastics can be identified virtually anywhere including electric screwdriver holders, tooth brushes and also items. Celluloid can end up being found in Hollywood, Florida today and is applied for creation of your own personal favorite films.

To advance often the processes of plastic treatment molding another great designer arrived to plastics actively within New york city after traveling coming from Rome on a fellowship. Leo Hendrick Baekeland commenced working with polymers along with this lead to the technology for Kodak Eastman which has been Velox. Velox is actually a final paper which will could be produced inside gaslight instead of sun rays.

As a chemist this individual made many developments throughout this field additionally planning on to investigate precisely how polymers were molecularly set up. All these investigations lead also many pioneering technological advances and developments beyond precisely what chemists possessed discovered so far about films and glues.

In 1926 Eckert in addition to Ziegler designed the parts molding unit in Philippines which seemed to be the first successful appliance used in manufacturing materials. This kind of brought injection plastic material creating on the generation line efficiently.

Many much more creative inventors attended by way of the process of plastic-type hypodermic injection molding in historical past and it has break through an even finer method regarding production in modern-day products for instance appliances as well as name system, signs and also plaques.

Typically the Injection Plastic material Molding Course of action Today

Modern-day version in the plastic shot molding machines are computer manipulated and plastic-type material raw materials is inserted into stainlesss steel and metal molds for you to produce the custom made cheap name plates, plastic material factors and many of the actual plastic-type products we utilize daily. The molding products injects hot plastic directly into the fungal and relax the plastic along with concentrated amounts the parts. Often the creating equipment of today helps make mass production of plastic-type material components easy and charge effective.

Right now, plastic injections molding suppliers use top to bottom and plan presses, treatment screw squeezes, electric pushes and hydraulic presses intended for whatever pace of strain is needed to finish the product pressure to help form. This procedure produces every little thing from car parts in order to license plates and possibly toothbrush.

The Future regarding Plastic Injection Creating Tools

Plastic injection creating will be a very innovative course of action containing created many valuable merchandise that we make use of every single day in your households. While the background involving plastic injection creating is pretty full of ingenuity and advancement, the foreseeable future is filled with perhaps greater likelihood as a lot more creative intellects add brand-new ways to improve cheap injection molding equipment in addition to process.

While the changes inside the plastic injection machines proceed, the future connected with injection molding is actually transforming its attention to the particular molds and mold elements. High tech plastic conforms may be made of material, epoxy or perhaps carbon soluble fiber and can increase end result through faster cooling instances and cycle times.

Introduced of 3D printing presents us a glimpse showing how far plastic injection creating can travel into typically the future. THREE DIMENSIONAL printing is usually a process of building a three-dimensional solid object associated with virtually any shape via a a digital model. Using the integration regarding 3D IMAGES printing in the plastic material injection molding process, models and samples can always be developed with far a lesser amount of expense.

A number of innovative thoughts have actually been doing work with corn seed starting makers to replace traditional oil based plastic into ingrown toenail starch based plastic. m Biodegradable material is at present getting used on a constrained scale in addition to many makes use of this material could possibly rapidly have that would impress the mind. All the item would acquire would possibly be the mold and often the substance to produce the new wave for the future to get plastics engineering. Researcher are generally still researching polymers how they did when plastic hypodermic injection molding began and their particular studies unbelievable at this specific point with many alternatives to come.

[dippedanddripped]

“I’M SO OFF MY TITS ON COFFEE,” Stella McCartney admits, knocking back yet another cup in the foyer of a boutique hotel a stone’s throw from her home in London’s Notting Hill. “I had four school drop-offs this morning,” she explains. “I start at 6:30 a.m., and by the time I get to work [by bicycle], I feel like I’m literally done for the day. I’m a big hot sweaty mess, too,” she adds, having decided that a thick organic-cotton flying suit (no pesticides used in its production) was the way to dress for a Monday morning that started grimly overcast but soon turned sultry. “It’s just so difficult being in fashion, isn’t it?” McCartney sighs. “We have to pretend to be so perfect. I’m the one that comes in with a punk-rock kind of ‘fuck this perfection,’ ” says the woman who famously turned up, with Liv Tyler, to the Costume Institute’s 1999 “Rock Style” exhibition, both wearing jeans and custom T-shirts spelling out ROCK ROYALTY. “It’s not maintainable, it’s not wise, and it’s very old-fashioned. So there you go.”

McCartney does the school run five days a week with daughters Bailey, 13, and Reiley, 9, and sons Miller, 14, and Beckett, 11. “When you’ve got a job and you’ve got kids,” she says, “it’s when you get to see them, and you have to wake up super early and engage in that moment. Then I try and squeeze in some exercise, and then I go to work. And I try and get back for the bookending of being a mum.”

On weekends, McCartney spends more time with the family when they decamp to an estate in the wilds of unfashionable north Gloucestershire, the result of a house hunt born, as McCartney has explained, of “a desperate mission to find land so that I could ride my horse.”

McCartney married the dashing and protective Alasdhair Willis—the former publisher of Wallpaper and a creative guru himself—in the fall of 2003, and their aligned aesthetic passions run the gamut from the innovative indoor-outdoor architecture of the midcentury Sri Lankan architect Sir Geoffrey Bawa to old English roses. Over the past 15 years, the couple have transformed their handsome but once desolate Georgian manor house, sitting in bleak open farmland, into “a redbrick box within a garden within a garden within a garden,” as McCartney describes it, a breathtaking landscape of grand walled enclosures and allées of trees reflecting both her belief that “being out in a beautiful garden is nicer than sitting in a beautiful room” and her husband’s passion for such stately English flowering landscapes as Hidcote and Sissinghurst. “We planted a million trees,” McCartney told Vogue in 2010, “made another Eden.”

“You know what I was doing this weekend?” asks McCartney. “I was riding my horse barefoot and bareback, with my daughter [Reiley]. It was about as good as it gets.”

On a visit there in 2010 I was intrigued to discover—among the bridle paths, wild meadows, orchards, and Downton-scaled rose gardens and herbaceous borders—a series of reed-filled ponds that turned out to be the McCartney-Willises’ off-the-grid sewage system. “See?” says McCartney with her impish laugh. “Being an environmentalist can be sexy!”

McCartney has been environmentally conscious since childhood. “I was privileged,” she has admitted. “I grew up on an organic farm; I saw the seasons. My parents were vegetarians—they were change agents.” (That childhood idyll is evoked in her late mother, Linda McCartney’s, book The Polaroid Diaries, which also captures the world of McCartney’s American relatives, including her Eastman grandfather, who lunched at the exclusive Maidstone Club and hung de Koonings and Rothkos in his Billy Baldwin–decorated Fifth Avenue drawing room, where the infant McCartney amused herself with Joseph Cornell’s magical shadow boxes, alluringly placed on a child’s-height shelf.)

The great outdoors is also reflected in McCartney’s state-of-the-sustainable-arts London flagship store—which she designed herself, with a soundtrack that includes a three-hour loop of her father, Paul’s, demo tapes along with a Bob Roth meditation in the changing rooms. “The audio is important for me,” she says as she proudly walks me round it, “because it’s obviously such a big part of my upbringing.” There are papier-mâché walls made from “all of the shredded paper from the office,” along with a silver birch grove and a moss-covered rockery of giant granite rocks brought from the 1,100-acre McCartney family farm on Scotland’s Mull of Kintyre. “My personality is this sort of contrast between the hard and the soft, the masculine and feminine,” says McCartney. “I wanted to have life in the store—to bring nature into the experience of shopping,” she explains as she takes me up in the Stellevator to the floor where she fitted the Duchess of Sussex for the glamorous halter-neck dress she wore for the wedding reception following her marriage to Prince Harry. There are also pieces from McCartney’s “All Together Now” Beatles collaboration, inspired by a friends-and-family screening of Yellow Submarine that her father staged on the film’s 50th anniversary. “It just blew my brains because I hadn’t seen it since I was a kid,” she recalls. “It’s astonishing—just mental and so trippy and so childlike and so innocent and so heavy and so meaningful.”

Since McCartney’s 1995 Central Saint Martins graduation show, her brand has been defined by the urgent desire to do away with animal cruelty in the fashion industry. And while, 20 years ago, there were fake furs on the market, the only glues available were animal-based. “I imagine Vikings sitting around a pot, boiling down the last bones of the elk that they skinned for the fur,” says McCartney. “And I think, Wow—we’re still there.” Today McCartney uses renewable energy where it’s available for both her stores and offices; the eyewear she shows me in her store is bi-acetate, and her sneakers are made with biodegradable Loop technology; she uses regenerated nylon, polyester, and cashmere but also works with producers making innovative fashion fibers—building fake fur from sustainable corn fiber, for instance, producing vegan microsilk, and growing mycelium-based “leather.”

“I was always a bit of a freak in the house of fashion,” McCartney says. “My regime, my culture, has been different from day one.” In Paris, where she was appointed creative director of Chloé in 1997, she struggled with the perception that at 26 she was too young and unqualified for the job (“The Beatles wrote Sgt. Pepper when they were 26,” she told Vogue tartly), and her working practice was “totally at odds with the rest of the industry,” as she recalls. Even now, she says, “every single day in our office is this sort of daily challenge—a way of trying to perfect and persist and find realistic solutions within the luxury-fashion sector—and even in a more broadstream way with the collaborations with Adidas [initiated in 2004]. Each day,” she says, “there are questions that I ask that we try to find an answer for. And if we can’t, we’ll try again tomorrow.”

Despite what she refers to as “a lot of resistance,” McCartney turned the Chloé gig (which lasted through the launch of her self-titled brand in 2001) into a triumph, tripling sales. Today, as we march inexorably to global Armageddon, her commitment to cruelty-free fashion and sustainability is fast becoming the industry norm. In recent years, for instance, luxury brands including Gucci, Prada, Michael Kors, Armani, and Chanel have declared themselves fur-free. “I’m hugely relieved,” says McCartney, “but I’m actually astounded that it’s taken so long.”

McCartney now gives scholarships at Central Saint Martins, her alma mater, for students who “adhere to our ethical charter,” and helps young designers navigate the complicated terrain of sustainability. “We’re in the farming industry in fashion,” she says. “We look at the biodiversity and the soil. It’s crazy. It’s basically exhausting. It’s much easier not to do it. So I kind of understand why the world hasn’t quite followed.”

BUT McCartney has far more ambitious goals for expanding her global industry reach. Last year, she bought back full ownership of her label from Kering, 17 years after the group’s then–creative director Tom Ford had urged the company to invest in McCartney’s fledgling brand. Following her move, “people began to show an interest quite quickly,” as McCartney recalls. “I was fortunate enough that Mr. Arnault was one of the people.” She’s speaking, of course, of Bernard Arnault, the all-powerful chairman and chief executive of LVMH, which acquired a minority share in Stella McCartney in July. “I think it’s incredibly exciting. It sends a big, big message to the industry if Mr. Arnault is asking me to be his personal adviser on sustainability at LVMH. I think that was one of the attractions for me—it is a big, timely statement, and hopefully game-changing for all of us.”

McCartney points out that the fashion brands with the biggest environmental impact in terms of scale are “the high-end luxury houses, and then the fast-fashion sector. They have massive impact in a negative way, and they can have a massive impact in a positive way.” These fast-fashion retailers, as she observes, turned from fur far earlier than luxury brands. “They’re more in touch with the youth,” she says, “and what the next generation of consumers actually wants. It’s a given for my children,” she notes, “that you have to show some kind of mindfulness or awareness.” (In recognition of the next generation’s activists, McCartney has launched the Stella McCartney Today for Tomorrow Award—video nominations via Instagram—“to celebrate,” as she says, “a new generation of change agents and eco-warriors under 25 who are kicking ass for Mother Earth.”)

She may have her work cut out for her. A week after our coffee klatch and four days before presenting her spring-summer 2020 show in Paris (“our most sustainable collection ever”), Arnault, addressing an LVMH sustainability event in Paris, called out 16-year-old activist Greta Thunberg for “indulging in an absolute catastrophism about the evolution of the world” in her electrifying appearance at the United Nations summit on climate change. “I find it demoralizing,” he added. It was perhaps no accident that McCartney raced to put together a sustainability panel (no questions, no photographs) of her own on the eve of her show at the Opéra Garnier—a panel that included Extinction Rebellion activist Clare Farrell, the legendary environmentalist and activist Yann Arthus-Bertrand, and author Dana Thomas (Fashionopolis: The Price of Fast Fashion and the Future of Clothes), who noted that “we wear our clothes seven times on average before throwing them away . . . we’re perpetuating this bulimia of buying, using, and throwing away.”

“What we’ve seen over the last few weeks and months,” McCartney said, pointedly, “is children and young people taking action.” The designer also addressed the issue of young activists’ rejecting the idea of consumerism. “If the youth of today stop buying into it,” McCartney added, “then obviously, the people at the top have got to deliver on that.”

Rayon, or viscose, an indispensable fashion fiber, for instance, is created from wood pulp. “This year alone,” McCartney says, “up to 150 million trees have been cut down just for viscose.” McCartney now sources hers from sustainable forests in Sweden. “I’m trying to create something that’s still sexy and desirable and luxurious that isn’t landfill,” she tells me. “Every single second, fast fashion is landfill.”

Does McCartney feel that she’s had an impact on the practices of other brands? “That’s not for me to say,” she demurs. “That would be so unchic of us. But we are a kind of incubator. I have sympathy for how hard it is to shift the massive Titanic ship away from the iceberg,” she says. “We’re a little agile sailboat, and we built the ship. And I think that’s easier than changing something that’s been going in one direction for so long.”

While she was at Kering, the company developed an environmental profit-and-loss tool that assigned a monetary value to environmental impact—something that led to McCartney’s decision (to give just one example) to stop the use of virgin cashmere, a material with 100 times the environmental impact of wool. (It takes four goats to make enough cashmere for a single sweater, resulting in a need for grazing land that has destroyed the steppes of Mongolia and led to desertification and sandstorms in northern China.) Her label now uses regenerated cashmere, made from factory scraps that are shredded and respun into new yarn, and focuses on alpaca (“a much more friendly material”) and traceable wool (four sweaters from one sheep).

McCartney also holds an annual forum for all of her suppliers to talk with them about what her company requires and to share information on recent advances. “A lot of people see change as something scary,” she says, “but the mills are interested in working with innovators.

“I think that in a sense we’re a project,” she adds. “We’re trying to prove that this is a viable way to do business in our industry—and that you don’t have to sacrifice any style or any edginess or coolness in order to work this way. At the end of the day,” she says, “we’re a fashion house trying to deliver on the promise of desirability. Without that, I can’t even have this conversation. So I have to try and find a healthy balance—and doing both jobs is a balance. It’s the same as being a mum. My other ‘family’ is work. And I have to find the balance between this conversation of fashion and the conversation of consciousness—and they have to complement each other.”

[kainosite]

Les Misérables 2018, Episode 3

Les Mis fandom: Andrew Davies is a scoundrel.  What is he?

Me: ... Scoundwel.

The Good:

• I can’t believe the BBC actually filmed the “Now the people of this town can see you for what you really are” scene of a thousand Valvert fanfics.  They know what the people want.

• The Thénardiers are still fantastic.  Somehow the BBC has achieved the impossible feat of portraying them as loathsome abusers whom you hate with every fiber of your being, while simultaneously making them the fun comic relief you’re sort of rooting for in their capacity as the wacky crime duo.  On Christmas Eve I wanted the Seargeant of Waterloo to burn to the ground with everyone inside it, except for Cosette who was out getting water, Éponine and Azelma who were playing on the swings and Gavroche who was out back playing with Chou Chou or something.  I still grinned when Madame Thénardier cheerily reminded her husband to bring the pistol the next morning.  Striking this balance is a truly impressive achievement that I’ve only seen equalled by the Dallas production of the musical.

Their family dynamics are also coming across very well, sometimes through very subtle touches.  The differential treatment of Éponine and Azelma vs. Cosette and the way the Thénardier girls have been trained by all the adults around them to see Cosette’s abuse as a hilarious game, Gavroche being conscripted to fill Cosette’s role as household drudge once Valjean takes her, Mme. T slipping a bill out of Thénardier’s stash once he goes after Valjean – it’s all really good.

Their reactions to Valjean were good too.  Mme. Thénardier was thoroughly unimpressed with this roughly dressed man she’d decided was a hobo and only reacted with hostility when he was kind to her little whipping girl, but Thénardier as the criminal mastermind of the outfit decided the moment he noticed Valjean paying inordinate attention to Cosette that he must be a pedophile and they’d stumbled upon a lucrative financial opportunity.  I know some people don’t like this change, but honestly it makes a ton of sense.  Valjean’s interest in Cosette is strange, and considering the usual clientele of the inn cheer whenever Mme. T hits the kid with the strap, the Thénardiers aren’t used to seeing other people regard her plight with compassion.  Unlike in the Brick, this Cosette is a very pretty child, something discernible even beneath the dirt.  And it’s Thénardier, so of course he thinks the worst.  Valjean doesn’t volunteer that he’s representing Fantine (perhaps in this universe where he knows Javert is so fixated on him, he’s worried that would make him too easy to trace?), so really, what else is Thénardier meant to think?

• There are some priceless interactions between the protagonists and Thénardier: when he’s trying to haggle and Valjean keeps ignoring him and just repeating “How much?”; Javert’s baffled “Nothing!” when he asks Javert what Javert is planning to do for him.

• Javert and Gavroche’s preliminary encounter over the coffee cup was a nice, subtle touch.

• A+ hair analogy between Fantine last week and Valjean this week.  A+ removal of the godawful ponytail.  That prison barber in Toulon deserves the Légion d'Honneur.

• I’m enjoying Javert’s meteoric rise at the Prefecture and I love Rivette.  “But Kainosite, you love every long-suffering lieutenant.”  Yes, what’s your point?  Javert deserves a long-suffering lieutenant and so do I.  Although it’s hilarious how much Oyelowovert is Fanfic Javert, in his relationship with his subordinates as much as in everything else.

I also enjoyed Javert’s phrenology skull, which I hope he sometimes monologues at Hamlet-style.  A black Javert might hesitate a little before going all-in on phrenology, but I do appreciate his commitment to cutting-edge criminology research.

• LMAO at Javert’s fanart commission.

• Valjean and little Cosette are adorable together, and I really appreciate how much time Davies devoted to just depicting them interacting and letting the relationship breathe.  The strength of their bond is going to be very important later on, especially to Valjean, so it’s worthwhile to establish it now.  And they were suuuuper cute.  This adaptation tends to cut out Hugo’s humor sections, so it was nice to get a bit of relief from the grimness with endearing family time.

• I rather like Cosette calling people “nosy bitches”.  I mean, who socialized this kid?  The Thénardiers, that’s who.  It makes her seem more like a real child and less like a perfect little doll designed to reward first Valjean and then Marius for fulfilling their roles as protagonists.

It’s also an early hint at Valjean and Cosette’s unhealthy isolation and codependency.  The principal tenant is actually fulfilling her duty of care here in a society without any proper system for child safeguarding.  Cosette never seems to leave the apartment, certainly not to attend school or to learn a trade.  There’s no family resemblance between herself and her guardian.  (Incidentally, I’m impressed by how much Mailow Defoy really does look like the child of Lily Collins and Johnny Flynn.  All the matching between the kids and their “parents” has been superb.)  They give inconsistent stories about their relationship.  And Cosette is, as previously mentioned, an exceptionally pretty child.  The principal tenant should be worried - she doesn’t want Hector Hulot taking up residence in her building, and this pair are deeply suspicious.  But they can’t perceive her attention as legitimate concern, just as an unwarranted and unwanted intrusion into their little idyl.

• Similarly, Valjean’s early worries that he’s isolating Cosette too much by denying her all contact with the outside world or other children her own age are a nice piece of foreshadowing, as is her blithe answer that the only friends she needs are Valjean and Catherine.  Of course she’s content: she has food and warmth and security and the undivided attention of a loving adult.  To a child whose previous experience of the world has been so traumatic, their isolation must seem like paradise.  But this isn’t healthy and it isn’t sustainable, and the show is flagging that up early.  In many adaptations Valjean’s Cosette Issues seem to come out of nowhere, so it’s great that they’re laying the groundwork here.

• The whole “For a dark hunt, a silent pack” sequence is very well done.  There’s a nice piece of foreshadowing with the lamplighter hoisting up a candle as Valjean and Cosette are coming into Paris.  (Most of the Parisian lamps are nice flickery ones, although you do occasionally see those peculiar white ones we saw in Montreuil.)

I also appreciate Davies cutting Valjean’s canonical “Be quiet or Mme. Thénardier will catch you and take you back” line to Cosette from the Brick, which was an awful thing to say to a traumatized child.

• Things continue to look right.  The courtroom setup was really quite good.

The Meh:

• After watching the episode twice I think I finally understand what was going on with Javert at the trial.

His plan to entrap Valjean is no less incredibly stupid and risky than it was last week, but at least Javert has finally realized this.  He looks increasingly worried as each convict gives his testimony and identifies Champmathieu because they’re getting closer and closer to the end of the trial and Valjean still hasn’t acted.  Unlike Étienne in the 1952 movie, Oyelowovert has already testified and perjured himself, so he has no failsafe – if Valjean refuses to take the bait then Champmathieu is condemned in his place, the real Valjean is protected from legal pursuit forever, Javert’s perjury has real, long-term, perverse consequences, and Javert needs to find a new career.  The shock we see on his face when Valjean finally confesses is relief and the shock of seeing a scenario he must have played out a hundred times in his dreams becoming a reality before his eyes, or possibly a consequence of him coming in his pants, not shock at the revelation that Madeleine is Valjean.

But there are few members of the audience who are keener observers of Javert’s face than I am.  Most of those people are probably in the Valvert Discord chat, and none of them could figure out this scene on their first viewing either.  We should not have to analyze Javert’s microexpressions to determine the answer to a question as fundamental as “Did Javert sincerely believe Champmathieu was Valjean?”

• On the whole the trial was bad but I did appreciate Brevet just yanking out his suspender to show the court.  Although @prudencepaccard​ is gonna be mad it wasn’t checkered.

• The amount of time it takes Valjean to escape from Toulon is really of no great importance to anything.  Maybe this Javert gave them specific instructions to search him with care so his files kept getting confiscated and it took him longer to file through his chains.  We know the Orion incident never happened in this universe, so maybe it took two years for Valjean to spot a good escape opportunity.  Who knows?  Who cares?  It has zero impact on the plot.

People concerned about the extra time Cosette was left languishing with the Thénardiers should direct their complaints to Brick Valjean, who faffed around in Montreuil for a month while her mother lay on her deathbed constantly asking for her, and only decided to go pick her up once he was under arrest and it would obviously be impossible.  Davies’ sins pale in comparison to Hugo’s in this regard.  At least Westjean tried to send someone to retrieve her.

• ‘Rosalie’?  Okay, fine, but I’m not sure why this adaptation feels compelled to give everyone first and last names.  Thénardier could just call her ‘Darling’.

• I know they also abandon Catherine in the Brick, but in the Brick Valjean doesn’t pause in their flight to pack the candlesticks, the objects that are precious to him, and Cosette doesn’t specifically ask about bringing her.  Put the pillow under the blankets to fake out Javert like a normal person and let your child keep the one toy she’s ever had, what the fuck is wrong with you, Valjean?

On the other hand, the doll is made of dead people and it may be possessed, so perhaps this was just responsible parenting.  I’m calling it a draw.

• It’s not that I have any great objections to giving Simplice more screen time or letting the Mother Superior of the Petit-Picpus convent decide to shelter a convict, but there was no particular reason not to use Fauchelevent for the Fauchelevent plotline.  It’s a small instance of a good deed being paid forward that underlines the main theme of the book, as does Simplice’s act of self-sacrifice in lying to Javert to protect Valjean.  All of that has been lost and nothing has been gained in its place.  (Also is Cosette just... “Cosette Valjean” in this adaptation?  “Cosette Thibault”?)

The Bad:

• If Javert perjures himself to trap Valjean that is an incredibly big deal and we should see it.  I accept that this Javert might do it: Oyelowovert cares about his career and about ruining the lives of criminals, not about the rules.  If he can trap Valjean, superb.  If Champmathieu ends up in the galleys because of it, well, he’s a filthy apple thief and he deserves it.  Javert is subverting the course of justice in the service of a greater social justice.  But this monumental deviation from his Brick characterization, this enormously consequential lie, should not occur off-camera, for fuck’s sake!

Also it’s not clear what reason a Javert who is happy to lie under oath would ever have to throw himself into the Seine.

• Why the hell was Valjean so hostile to the other convicts?  He assumes they’ve been paid off, but... by whom, and to what purpose?  By Javert, to entrap him?  We the viewers at least know that can’t be true – Javert only found out about Champmathieu from the Prefecture, after Champmathieu had already been identified as Valjean.  By the public prosecutor at Arras, who is desperate to close the case of a minor highway robbery that happened almost a decade ago on the other side of the country completely outside his jurisdiction?  By the many enemies of Champmathieu the random hobo, who really want to see him go down for a felony?  It makes absolutely no sense.

Possibilities that make more sense: a) the convicts are sincerely mistaken about the appearance of a guy they’ve not seen in eight years, b) they just wanted to get out of Toulon for a month and they’re willing to say anything to do it because Toulon is a hellhole, as the first episode made exceedingly clear, c) they know perfectly well Champmathieu is not Valjean and they’re lying to protect the liberty of their old comrade by condemning a stranger in his place.  The whole dynamic of this scene – Madeleine, the respected mayor and factory owner, who’s been clean and well-fed and safe for years, yelling at these filthy men in their convict uniforms, Chenildieu with some kind of open wound across his forehead, quite possibly a lash mark – is deeply unpleasant.  It makes Valjean look like a complete asshole and sets a sour tone for the whole episode.

• The entire trial is just off.  Valjean’s off-putting and inexplicable hostility to his fellow convicts, Javert’s mystifying facial expressions, the audience who keep laughing at unfunny lines – the scene just doesn’t work, it doesn’t come together.  It was at something of a disadvantage because I came into it having just watched the 1952 trial scene for the previous episode’s review post, which is the best ever adaptation of the Champmathieu trial, and any other version was likely to pale by comparison.  But this one was particularly poor.

• I said last week we’d have to see what the series made of Valjean’s externalization of his emotions.  Well, what it has made is an awful lot of shouting at everyone, starting with the poor convicts and continuing from there, and also an excess of violence.  Valjean charges into the soldiers in Montreuil-sur-Mer and bowls them over, he threatens to knock Thénardier down and then to blow his head off, he gets Thénardier into a headlock and grapples with him.  Even when Westjean is coming into the convent he has to practically break down the doors.  Everything is violent action with him.  It’s OOC to the point where it’s becoming a problem rather than merely a different interpretation of the character.

All this aggression isn’t even effective at making him seem dangerous!  The thing he does in 1978 where he gently removes Javert’s hand from his collar is vastly more intimidating because it showcases his superhuman strength.  He should have just plucked the gun out of Thénardier’s hand like he was taking it away from a child instead of all this undignified scuffling.

• Tumblr, a humble reviewer has failed in accuracy, and I have come to bring this matter to your attention, as is my duty.

I argued last week that Westjean is not a misogynist: he yells at everyone in his vicinity regardless of gender.  Well, you were right and I was wrong.  That menacing lunge he takes towards Victurnien while screaming at her, calling Mme. Thénardier “woman” and shouting at her to bring his supper, the way he bursts in on the nuns at the end – it all adds up to something pretty unpleasant.

• I have never in my life seen an adaptation that makes Fantine’s death so much about Jean Valjean’s manpain.

If you look a 1978, an adaptation that gives if possible negative fucks about Fantine, it still manages to make the confrontation over her deathbed a conversation between three people, in which she has agency and reacts to what people are saying and is present in some capacity other than that of an object to make Valjean sad.  Someone compared Collinstine to a substitute Coin of Shame, and I think that’s really apt: Valjean is distressed and guilty because he’s failed to rescue Cosette, so he goes to Fantine’s bedside to sear the image of her despairing face onto his retinas in the same way he seared the imprint of Petit Gervais’s forty sous onto his palm.  He’s punishing himself by deliberately upsetting her.  For both Valjean and the camera, this scene is all about Valjean’s feelings and not about Fantine’s.

The person in this room with the biggest problems is not Jean Valjean, for pity’s sake.  I like to see the man cry as much as the next fangirl, but this was vile.

• Valjean’s visit to Fantine on her deathbed is a stupid, irresponsible thing to do and a direct cause of her unhappy death in the Brick and in every adaptation where she survives long enough for Javert to turn up. Valjean knows he has no good news to give her, he knows that the criminal justice system will be after him sooner or later, he knows that having Fantine and Javert together in the same room is a phenomenally bad idea, and he has urgent business in Montfermeil, or if he’s resolved to stay in Montreuil-sur-Mer to await arrest then he urgently needs to designate some representative to go and pick up Cosette in his place.  Instead he loiters by a sick woman’s bedside until Javert shows up and predictably traumatizes her to death.  As a result, Fantine dies in misery and Cosette suffers under the Thénardiers for another year.

But in the Brick it was at least not an insane thing to do.  When he left Arras he was not being pursued, and he reached Montreuil well ahead of the news about the trial.  The magistrates in Arras were in two minds about how to handle the situation.  Given Madeleine’s status, the widespread affection and admiration for him in the region, and the fact that he turned himself in, it’s not inconceivable that had it not been for his little Bonapartist slip in the courtroom, they wouldn’t have issued a warrant for his arrest at all and would simply have sent him a summons to appear at the Var Assizes to stand trial, or directed him to surrender himself at the prison in Montreuil rather than sending Javert after him.  I’m not sure it’s likely, given that he’s a known flight risk and parole violator illegally occupying a public office and they seem keen to get their hands on his fortune, but it’s not inconceivable.

In this adaptation Valjean breaks away from the police in the street and leads them straight to Fantine’s deathbed.  There is no fucking excuse for this.  NONE.  Brick Valjean was a fool to come at all and a bigger fool to stage a massive confrontation with Javert while he was still in the infirmary, but his mistakes were those of a man under immense stress who never bothered to think about Javert long enough to construct a working psychological profile of him.  Westjean’s mistakes were the mistakes of a selfish asshole too caught up in his own feelings of guilt and shame to have any regard for the people he allegedly cares about and wants to help.  Valjean is an extreme deontologist and his actions are always self-absorbed to a certain degree, because they’re fundamentally more about whether he can feel he’s done the right thing than about the actual effects of his actions on other people.  (He and Brickvert have that in common.)  But it should never get to the point where he’s actively harming people to this extent.

• Brickvert doesn’t seem to care for firearms much, and Oyelowovert looks like a jackass waving his two giant pistols around, but he’s a different character and if he’s decided they make him look cool then fine, I guess.  But in that case he should not be intimidated by Valjean’s strength in the infirmary.  You have guns, idiot!  If he threatens you just shoot him in the leg!

Guns completely change the dynamics of this scene, as the Dallas staging of the musical conveys very well.  The BBC handed Javert some pistols and then forgot he had them.

• In 1862 people would probably have found the implication that Catherine has Fantine’s hair to be sweet and charming, because the Victorians loved toting bits of their dead relatives around and hair mementos were so common that no one would have considered it weird.  In 2019 it is CREEPY AND GROSS.  I know there’s no ethical consumption under capitalism but we did not need to know that Cosette’s doll was made from the body parts of desperately impoverished and now dead women, really.

• Oh, so we’re flipping over beds when we fail to catch our favorite fugitive convict now, are we?  Great, now everyone is yelling.  FFS, Javert, I thought you were supposed to be the emotionally continent one.

• Where was Marius this week???  If Davies was happy to cut that leg of the stool out of whole episodes then why the fuck not just let Georges die when he’s supposed to and let Marius have a coherent character arc?  It makes no sense whatsoever.

I’ve got to be honest, I was not a fan of this episode.  But it did get Valjean and Cosette’s relationship right, and that is the most important relationship in the story.

[floorprotection3-blog]

Short-lived Floor Protection - Something Guide

carpet protection Your floors want special protection when considering remodeling, during new structure, moving heavy furniture or maybe equipment, and for various other situations beyond day-to-day employ. Shielding flooring makes impression and helps you to save money. The spill involving paint, typically the drop of any hammer, the scratch via heavy household furniture can cost thousands within replacement and maintenance charges. This article describes surface area protection products for flooring so that you may make informed options upon the best product to work with for your needs.

carpet protection

Varieties of Protection Presentation:

Floors protection products are generally packaged as either:

(1) Products by the rotate: For instance , common adhesive movies, explained paper products along with rolled linen protection. Defensive materials acquired by often the roll are commonly calculated in thickness by mils (e. g., 2. five mils thick up for you to 48 mils thick).

(2) Products through the sheet: All these include corrugated plastic material, masonite, and other rigid security. Protective materials purchased from the sheet are commonly assessed thick by the " (e. grams., 1/4-inch thick) and generally come because 4 feet by simply eight feet.

Type of Floor Protection:

Paper

Paper safeguard is suitable for most hard surface types and robust surfaces nevertheless does not necessarily work well to secure carpets and rugs as it can easily tear when bending underneath footsteps. Paper tools are mesh so that glue smoke and cement curing gases can escape. One negative aspect to paper products because they require tapes to safeguarded them to flooring in addition to heurt can often abandon adhesive deposit when taken off. Common papers protection merchandise include:

· Ramboard™ Any coated folded paper aboard 38 mils thick which is breathable, water-resistant as well as made from recycled document.

· Kraft paper can be a lightweight brown paper that is certainly inexpensive but does definitely not have the funds for any impact safety and can also easily tear

· Scrim paper may combine films or reinforcements to help make all of them water immune as well as scrim post to reinforce the actual paper which will help prevent tearing. These kind of improved reports are much longer lasting than standard Energi paper or rosin report however they are additionally as well thin to provide much effect protection.

· Rosin pieces of paper is wider than Styrka paper and also is very low charge. Rosin paper is reused, felt paper that varieties from 9. 0 in order to 11. 5 mils thicker. The huge drawback connected with using Rosin paper is usually that it may lead to any permanent stain in the event that the papers gets soaked. Rosin document can furthermore rip easily thus it not really normally recommended use

· Corrugated cardboard comes as well as sheets can also become used to shield flooring. Corrugate provides influence protection on the other hand it is not sprayed with a water resilient finish and will be maintained dry always so that will it does not corrupt. Pressboard products are likewise available as single-, double-, and triple-walled corrugated pressboard sheets or being a fan-folded stack.

Polyethylene Video

Polyethylene (PE) films are traded since self adhesive could be motion pictures varying from installment payments on your zero up to 3. a few mils in thickness. That they pitfall any moisture by getting out of so they need to not be used in just about any floors that are generally curing. A couple of the wonderful benefits of polyethylene videos are that films can flex and contour so as to be used on rugs in addition to hard surfaces. These types of shows do not offer you any impression protection along with are normally graded intended for short term use associated with 30th to 90 nights only. Polyethylene films usually are designed for one-time work with and do not utilize recycled elements making these a poor choice inside sustainable protection. Protection movies are available in some sort of variety of adhesion "tack". Hard surface protection motion pictures will have a decrease tack in addition to color compared to carpet defense which demands a more extreme stuff to hold onto carpeting fibers successfully.

Wood Merchandise

Plywood and Masonite are usually used as protection about commercial projects with tons of foot or so traffic. Masonite is a wooden merchandise made from wood fabric unlike plywood which is definitely a proper sheet of slender timber. Both plywood as well as Masonite are sold throughout the standard scale some feet by 7 legs and are more high-priced each square foot as compared to report or polyethylene solutions. Masonite is commonly 1/8 or quarter inch heavy. Plywood is frequently 1/4 in . to 3/4 inch solid. Both items provide effects protection with a variety regarding floor types and provides satisfactory protection against heavy tools use or furniture transferring. Both plywood and Masonite are breathable and used however they are huge to handle and store. These kinds of solid wood sheets should end up being used on best involving a softer protection say for example a rolled textile as that they quickly scratch flooring. All these bed sheets work well to be able to protect carpet since they protect against wrinkles when running major loads over the rug. Plywood and Masonite never offer moisture protection and they are harder to cut for you to dimensions than other security types.

Sheet Products

Fabric products are frequently produced from recycled cloth. Additionally , these rolled protection goods often have added positive aspects such as skid proof backings or comfortable plastic-type liners. For real wood floor surfaces, these specialty material progresses are highly recommended because they are breathable, skid resistant, used, often leakproof and quick to remove to size.

Thoroughly clean as well as Safe™ is a new textile solution made through recycled cloth remains in which has a leak explanation ship on the again. It is suited for active floors only since it will not breathe in. This rolled system is used and can be employed under plywood and masonite in order to avoid scratching

Surface Pro™ is constructed from the same company as the Clear and also Safe but may be the to be able to version. It is the dense, 40 mil sheet item that also possesses skid weight. White with color, it is usually used while a wood ground safeguard in model properties.

Exterior Liner Vapor™ will be the hottest textile product in order to along with is both breathable in addition to leakproof. Microscopic pores from the plastic liner allow vapour to escape yet tend to be also small for popular beverages to penetrate. This kind of folded product is in addition easy to keep fresh as the plastic leading might be swept daily to help keep the idea looking fine.

EZ Cover™ is actually made to protect cement slabs or decorative cement when curing. It has any soft believed bottom as well as compressed pieces of paper backing this allows the floor in order to breathe. EZ Cover is usually used in both business oriented and also residential applications along with is straightforward to cut to be able to size seeing that needed.

Making use of the Surface Security

Within order to obtain the particular full benefits associated with using area protection, suitable application will be a must. The surfaces should be clean (vacuumed or even swept) prior for you to covering while using protection merchandise. The proper collection of safety should be made to ensure moisture is not stuck with floors that are usually still recovering. Trapping wetness can cause an entire product or service failure and will invalidate a wood floor manufacturer's warranty. Intended for heavy site visitors or a lot, several defense layers can be needed.

Inside summary, there are a lot of selections in temporary flooring security available today. Any time choosing a safeguard merchandise, it is wise to help take into account the cost, duration essential, air permeability and potential in order to reuse the merchandise. Successful floors protection also contains proper installing and prep of typically the floor. Always keep to the manufacturer's recommendation for use hence the potential for adhesive send is usually avoided. Protecting important flooring surfaces is a clever investment on time and dollars. Surface safety experts are generally also available to allow you to choose the best carpet protection for your requirements.

[lynwoodoganesian-blog]

Let's discover more concerning Spider-Man cosplay costumes

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[gruigerclyde-blog]

Allow's find out more about Spider-Man cosplay costumes

Many people around the world try something new to flaunt some remarkable distinction after using the spider man cosplay suit. Actually you can find out an enormous of internet sites that offers you the rocking availability of spider man costume. From that you should select the most effective branded as well as top quality materials. You might have uncertainty relating to why you need to attempt custom cosplay costumes fit far from home film edition? It would be something beautiful and make you to show unique before others. After using it sure your youngsters also would certainly like it and the person whoever sees them would certainly come as well as value them as well as this works as an increasing power for your youngsters.

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[trendingfact]

Sortation Systems Market To Reach A Valuation Of ~US$ 2 Billion By 2027 Transparency Market Research delivers key insights on the sortation systems market in its published report, which includes global industry analysis, size, share, growth, trends, and forecast for 

[rytterbutcher9-blog]

Just how to cosplay spider man like far from home flick programs

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The most up to date cosplay costume for spider man far from home film

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