#icon medical coding

[iconmedicalcodinginstitute]

ICON Medical Coding Institute

Introduction of ICON Medical Coding Institute in Hyderabad:

In the bustling city of Hyderabad, where tradition meets modernity, one institution stands out as a beacon of excellence in healthcare education: ICON Medical Coding Institute. We Established with a vision to empower individuals with the skills and knowledge needed to excel in the dynamic field of medical coding, ICON has quickly become a leader in the medical coding industry. With a relentless commitment to high quality education, industry-relevant curriculum, and a focus on student success, ICON is not just a training institute; it is a transformative force in the lives of its students and the healthcare industry.

ICON Medical Coding Institute Vision and Vision:

ICON Medical Coding Institute was founded many years ago by a group of visionary educators and healthcare professionals. Their aim was clear from the outset: to fill the gap between the growing demand for skilled medical coders and the availability of trained professionals. Hyderabad, with its demand in the healthcare sector, was the perfect setting for such an endeavor. The founders envisioned a premier institution that would not only impart knowledge but also cultivate a spirit of innovation and excellence among its students in the medical coding insudtry.

Since its inception, ICON Medical Coding has stayed true to its vision of becoming a center of excellence in medical coding education. The institute has steadily growing in reputation and scale, earning the trust of students and industry alike. What sets ICON Medical Coding apart is its unwavering commitment to staying abreast of the latest developments in medical coding practices and technology. This forward-thinking approach ensures that students are equipped with the most relevant skills, making them valuable assets to employers upon graduation.

State-of-the-Art Infrastructure:

ICON Medical Coding Institute, tucked away in the centre of Hyderabad, with state-of-the-art facilities that are intended to give students a comfortable learning environment. The campus has state-of-the-art computer labs furnished with the newest software, well-appointed classrooms, a library, and areas set aside for hands-on training. The infrastructure of the institute is designed to improve learning and get students ready for issues they will face in the real world.

The institute also places a strong emphasis on technology integration tools. Students can have access to online resources, e-learning, and tools that simulate real coding scenarios. This hands-on approach not only reinforces classroom learning but also hones the practical skills that are vital in the field of medical coding.

Comprehensive Curriculum:

At the core of ICON Medical Coding Institute success is its comprehensive and industry-aligned curriculum. The institute offers a range of programs, from foundational courses to advanced certifications, catering to students at different stages of their career paths in the medical coding. Whether someone is just starting or looking to upgrade their skills, there is a program at ICON Medical Coding Institute to suit their needs in the healthcare.

The curriculum is designed in collaboration with industry experts and follows international coding standards. Students are exposed to diverse topics such as anatomy and physiology, medical terminology, ICD coding, CPT coding, and healthcare compliance. Hands-on training is an integral part of the curriculum, allowing students to apply their knowledge in practical scenarios. Additionally, guest lectures and workshops by industry professionals provide valuable insights and networking opportunities.

Expert Faculty:

Central to the success of any educational institution is its faculty, and "ICON Medical Coding" takes pride in its team of expert educators. The faculty members at ICON are not just teachers; they are seasoned professionals with years of experience in the healthcare and coding domains. Their blend of theoretical knowledge and practical insights enriches the learning experience for students, giving them a holistic understanding of the subject matter.

Moreover, the faculty at ICON Medical Coding Institute are not just mentors in the classroom; they serve as guides and career counselors for students. They are invested in the success of each individual, offering personalized attention and support everyday. This mentorship extends beyond graduation, as alumni often seek guidance from their former teachers as they navigate their careers in medical coding industry.

Industry Partnerships and Placement Assistance:

ICON Medical Coding Institute understands the importance of filling the gap between education and employment in the medical coding. To this end, the institute has forged strong partnerships with leading healthcare organizations and coding firms. These partnerships not only enrich the learning experience through internships and industry projects but also open doors to job opportunities for graduates.

The ICON Medical Coding institute's placement cell works tirelessly to connect students with prospective employers. Mock interviews, resume workshops, and career counseling sessions are regularly conducted to prepare students for the job market. As a result of these efforts, ICON Medical Coding Institute boasts an impressive placement record, with a high percentage of students securing lucrative positions in reputed MNC Companies.

Community Engagement and Continuing Education:

Beyond academics, ICON Medical Coding Institute is committed to giving back to the community and promoting lifelong learning. The institute regularly organizes health camps, awareness programs, and workshops for the public. These initiatives not only benefit the community but also provide students with valuable practical experience.

ICON Medical Coding Institute also recognizes the importance of continuing education in the rapidly evolving field of healthcare. The institute offers a range of continuing education programs and workshops for professionals already working in the industry. These programs enable professionals to stay updated with the latest trends and advancements in medical coding, enhancing their career prospects.

Conclusion:

In the Medical Coding education, ICON Medical Coding Institute stands tall as a pioneer and a trailblazer. From its humble beginnings to its current status as a leader in the field of medical coding, ICON has remained steadfast in its commitment to excellence. Through its cutting-edge infrastructure, comprehensive curriculum, expert faculty, industry partnerships, and community engagement, ICON medical coding continues to shape the future of healthcare professionals in the field of medical coding .

For those who aspiring to embark on a rewarding career in the field of medical coding, ICON Medical Coding Institute in Hyderabad is not just an institute; it is a pathway to success. With a legacy of empowering individuals and transforming lives in Medical Coding, ICON remains dedicated to its mission of creating skilled professionals who will make a difference in the Medical Coding Industry.

[shrineheart]

Urgent Commissions, Sales, and General Update

January 2025 is kicking my ass.

I have a new job which is great. I'm behind on money which is not. My mother had an urgent medical scare which has left her impaired.

My meds were all jacked up for a bit so I'm waiting for my anxiety to even out.

I'm trying my best but it doesn't feel like it's nearly enough and I'm worried I'm not going to have a place to live.

It feels like every time things settle down they kick back off again.

So, I need help. I'm doing commissions, SFW, NSFW doesn't matter.

My shops (Gumroad and Cubebrush) are also going to be 50% off. For anything that requires a code the code will be HELPINGHANDS

Right now full price would be preferable but I'm willing to go as low as 50% off my current prices.

Here are examples of my work.

Current prices are listed in this journal below:

Icons - $15 each or $8 each

PngTuber - $50+ (Default is 2 frames) or $25+

Pixel Art and Animation - Starting price is anywhere from $5-25. This varies a lot based on size, animation etc.

Digital Sketches, Inks, Full Color Images - $50+ or $25+

Digital Paintings - $80+ or $50+ (Digital paintings take a lot of time and can be complicated which is why their default is not 50% off)

If you're interested in art, in donating, in helping in general? Email me at shrineheartcreations@gmail.com

[dysthymia-wet-specimen]

re: being "groomed" into radical feminism

i was raised by a (non-radical but shares some beliefs) feminist mom who was super anti-porn (irl porn due to exploitation) and always taught me to stand up to misogyny. throughout my life she's been the biggest advocate and protector of me through medical misogyny, ableism in the school system, and helping fight for justice against poorly handled sexual harassment reports i made against classmates who'd been inappropriate to me.

i went through puberty during gamergate, an era of "feminist cringe comps" and buzzfeed manspreading videos. i was in comp-sci and stem spaces, surrounded by these sweaty hentai addict nerds, some even grown men breathing down my neck for being a "female who plays real video games" *pushes up nerd glasses* no matter what community it was, coding, anime, furry fandom, my local gsa spaces, there was always a permeating stench of male supremacy, sexualization of women/female people, and a blatant disregard of respect for the "walking fleshlights" in the room. "what's better, tits or ass?" "oh this anime is so peak, wdym you don't like it cause there's also panty shots of underage girls in it?" "keep furry weird! the horse fursuit with styrofoam G cup breast padding is such an icon!" "terfs* can suck my girlcock" (*which i later found out meant anything from hating trans people to respecting but not wanting to sleep with them, and sometimes conservatives are labeled under this branch of "radical.... feminist?")

seeing time and time again the way women and female people are pushed aside, unconsensually sexualized, or even had rape jokes/threats made abt them, is what made me radical.

I used to think my mom was crazy. "Everyone says bitch? what do you mean it's sexist when guys call women that?" "telling a stranger to choke on a dick isn't rapey its just an insult to someone" "every male watches porn, don't they?" Sexism had stained my life to the point that there was no "safe space" for me. I could no longer keep my eyes closed to the horror that is the female experience. "Radfems won't just respect cause you have a vagina" Well talking about my breasts certainly didn't stop being misogynistic once I told you my pronouns were he/they? i don't believe what others tell me to believe out of wanting to be accepted.

when the mainstream liberal men speak over human trafficking survivors to justify upholding the porn/prostitution industry. when fandom spaces welcome child erotica with open arms under the guise of "anti-censorship for queer media", all while adults pushed the limits of "family friendly convention hours" further and further, being called a "fascist puriteen" for not wanting to see a guy in a thong and a dog mask being walked on all fours during the public pride parade at 1pm in fucking massachusetts...

i'm tired of stepping on eggshells to be the "good feminist". FOR ANYONE. i'm gonna be the most obnoxious they/he nonbinary transmasc radical feminist there ever was. i don't care i'm too "TRA" or too "radfem" to fit into your boxes. fuck your boxes dude!

Let adults make decisions about their own bodies. Call people what name/pronouns they want to be called. Trans people are oppressed and at risk of violence. Children don't need to transition to be respected. Not all trans people can/will have certain surgical procedures but are still valid. The only scenario in which asking trans ppl about their procedures is when its in a (consensually) sexual or medical context, otherwise asking ppl invasive questions abt their privates without consent for your "entertainment" is sexual harassment. Trans people aren't here to satisfy your fetish for our bodies. Making fun of trans people who aren't doing anything wrong is cringe behavior. You can't be a feminist and a conservative/trump-supporter. trans women when perceived as women face misogyny even if they weren't born/raised female and aren't effected by certain issues of reproductive rights or medical misogyny. gnc-phobia is bad even when it's against men, being gnc doesn't make someone trans

are all statements that can coexist with: Respect single-sex spaces (female only housing, gyms, DV shelters, etc. You deserve safe spaces too, but so do we. trans men and nonbinary female people benefit from female-only spaces too!). Some people are only attracted to people who were born male or female, no matter how much you transition, some people are same-SEX attracted, not just same-gender. if you are trans you need to disclose that before sex. being lgbt doesn't make you a predator, but that doesn't mean you should excuse predatory behavior from other ppl in that community (happened to me multiple times sadly, also see ava kris tyson situation/response). in US politics, abortion and reproductive rights needs to be centered more in bodily autonomy conversations, women bleeding out over a pregnancy they're forced to have is not the same as choosing to kys over surgery bans. (though suicide is bad and trans ppl should be aloud to decide what to do with their adult body) intersex people shouldn't be used as an argument point by radfems or trans people, using someones medical condition to win arguments is weirdo behavior... criticizing misogyny/rape culture/anti-female behavior in lgbt spaces isn't the same as hating trans people. misandry isn't real (at least in the USA/western culture) (men can be oppressed differently based on minority status, but men/males are not inherently/systemically oppressed the way someone is for being female. there's not a male hate movement killing and raping men like there is for incels. "misandry" is just as real as "reverse racism/racism to white people", aka bullshit)

i'm not going to go through every single post someone makes to see if they're "agreeable enough" to reblog. my opinions are my own. and i'm happy to clarify that, but does porn and rape culture stop being bad the woman speaking out against it has a wrong opinion? are you fucking kidding me?

not every radfem takes me seriously, not every trans person takes me seriously. i just left the radfem community i really enjoyed due to personal conflict (sadly, but hoping to keep in touch still on tumblr). i'm not a poor victim of the evil radfems. i'm female in a male supremacist world and i woke the fuck up.

[babybluebanshee]

Herbert West is the guy of all time. He’s autistic. He’s a master manipulator. He’s a misogynist. He has particular contempt for a wife beater. He’s committed several felonies and still somehow manages to get his medical license. He believes in academic integrity. He makes puns. He drinks Diet Coke. He made his best friend a sandwich when he went into shock. He may or may not have killed his best friend’s cat. He’s gay coded. He’s ace coded. He’s trans coded. He’s sopping wet cat labeled “a project” by shelter staff coded. He’s a genius scientist who’s created a goop that brings the dead back to life as violent berserkers, and is confused every single time his goop brings people back to life as violent berserkers. He cheats death twice and it’s never explained how, in the movie franchise about literally bringing dead people back to life. Absolute icon, reigning champ of the poor little meow meow contest.

[eldar-of-zemlya]

To Boldly Sew: The Creation of Star Trek's Iconic Wardrobe

Gene Roddenberry’s arguments with NASA, costumes crafted from shower curtains, male characters in miniskirts, and why the gold command uniforms were actually green—this is the story of Star Trek’s groundbreaking wardrobe and the visionary work of the man behind it, Bill Theiss.

If you’d like to read the formatted article with easily accessible references, you can also find it on AO3.

During the production of the original Star Trek, the creative team faced numerous challenges, the most persistent being, unsurprisingly, the show’s limited budget. These restrictions had a significant impact on many aspects of the series, including one of its most crucial visual elements: the wardrobe.

Each week, the costume department was tasked with creating original outfits for the show’s characters. Alien civilizations had to look distinct and believable without distracting from the storyline—all while staying within a tight budget. To achieve this, the team employed clever tricks, such as repurposing and dyeing old uniforms, turning garments inside out, and even fashioning costumes from unconventional materials like vinyl shower curtains.

"Sometimes a show will call for 30 or 40 costumes," explained Star Trek’s costume designer William "Bill" Theiss. "And since we film back to back, that means I have to design, get approval from the producers and director, and construct the costumes in six to eight days." [Source]

Commander Spock and Lieutenant Tormohlen don "protective suits" fashioned from shower curtains as they investigate the mysterious death of a mannequin crew member. (Season 1, Episode 4, "The Naked Time.")

Theiss was a key figure in shaping the visual identity of Star Trek’s universe. Over the course of the show’s three seasons, he designed costumes for a wide range of characters, from blue-skinned Andorians to the infamous Orion slave girls, and even the Nazi-inspired inhabitants of the planet Ekos. (Interestingly, the episode Patterns of Force, featuring Ekos, was banned from German television until 1995 due to its controversial themes.) [Source]

Theiss first met Star Trek creator Gene Roddenberry while Roddenberry was developing the show’s pilot. At the time, Theiss had gained attention for his innovative work on the science fiction play The Veldt, based on Ray Bradbury’s short story of the same name. This caught the eye of Star Trek writer Dorothy Catherine Fontana, who introduced Theiss to Roddenberry. By then, Roddenberry had already interviewed over a dozen costume designers but had yet to find someone who could bring his vision to life. Theiss’s creative approach, which often involved crafting unique costumes from unconventional materials, immediately resonated with Roddenberry. Their collaboration would continue for decades, even though, amusingly, Theiss never learned how to sew. [Source]

After the original Star Trek series was canceled, Theiss and Roddenberry remained close collaborators, working together on various projects until Roddenberry’s passing in 1991.

Left: William Theiss adjusts Susan Oliver's costume on the set of the 1965 pilot episode, "The Cage."

Right: William Theiss and Leonard Nimoy on the set of Season 2, Episode 26, "Assignment: Earth" (1968).

When designing Star Trek’s now-iconic multi-colored uniforms, Roddenberry drew inspiration from the color-coded uniforms used on American naval vessels, where quick role recognition was essential in low-visibility environments. As a former military pilot during World War II and later a police officer, Roddenberry had firsthand experience with structured, hierarchical organizations. These influences shaped not only Star Trek’s command structure but also its visual design. [Source]

Each division was assigned a distinct color: engineers, communications officers, and security personnel wore red; medical staff and scientists were dressed in blue; and command officers wore—believe it or not—green. (But more on that later.) All uniforms were paired with dark ash-colored trousers and high boots.

Star Trek is not typically associated with realism, which makes it surprising to learn that NASA was involved in the show’s production, offering advice to ensure it was "scientifically believable." Among their suggestions was the idea that 23rd-century astronauts might wear form-fitting jumpsuits. However, Gene Roddenberry dismissed the concept, humorously referring to the design as “long underwear.”

NBC, on the other hand, had entirely different priorities. The network insisted that female Starfleet officers wear more revealing attire, a demand that clashed with Roddenberry’s vision of a future where women were treated as equals to men. In the first pilot episode, The Cage (1965), Roddenberry boldly dressed female characters in pants—an unconventional choice for 1960s television. However, after much debate with the network, a compromise was reached: miniskirts. Highly fashionable at the time, they were paired with shorts and dark tights, blending contemporary trends with Star Trek’s futuristic aesthetic. [Source]

Captain Pike and a group of serious women in pants protect the heroine from an ass-headed very wise alien. The first pilot of Star Trek, "The Cage" (1965).

Years later, when NBC faced accusations of sexism and objectifying women, Nichelle Nichols, who played Uhura, defended the wardrobe choice in a BBC interview. She explained that the miniskirts weren’t unusual or inappropriate for the era:

“I was wearing them on the street. What's wrong with wearing them in the air? I wore 'em on airplanes. It was the era of the miniskirt. Everybody wore miniskirts.” [Source]

Grace Lee Whitney, who portrayed Janice Rand, echoed Nichols’s sentiment, adding that she “didn't think the women should be in pants” and that she wanted to “look like Flash Gordon” on screen. [Source]

Meanwhile, costume designer Bill Theiss had his own, more subtle approach to creating “revealing” costumes.

“He felt that revealing non-sexual flesh (the outside of the leg, off one shoulder, the back) promised that the viewer would see more — but they never did,” explained screenwriter D.C. Fontana, citing the gown worn by Lt. Palamas in Who Mourns for Adonais? as a prime example. [Source]

Lieutenant Palamas's "ancient Greek" dress from the episode "Who Mourns for Adonais?" alongside William Theiss's original sketch for the design.

When designing the original Star Trek uniforms, Theiss was tasked with creating something that reflected military influences while also looking futuristic and remaining inexpensive to produce. His approach was practical:

“As for where I get my ideas from… well, I don’t get them from my dreams or anything. Mainly, I get them from fabric that I see that’s available; I look for interesting patterns in the material itself,” Theiss once explained. [Source]

For the first two seasons, the Star Trek uniforms were made from velour, a newly invented fabric that was cheap, easy to maintain, and had an appealing sheen under studio lights. However, velour had its drawbacks: it tore easily (as evidenced by Captain Kirk’s frequent shirt-ripping battle scenes...) and shrank significantly after dry cleaning. Since the costumes had to be cleaned after every episode, viewers may notice that the uniforms became progressively tighter throughout the first two seasons. By the third season, velour was replaced with double-knit nylon, a more durable fabric used in professional baseball uniforms.

Left: Kirk's velour shirt from Season 1, Episode 10, "The Corbomite Maneuver." Right: The same shirt in Season 2, Episode 22, "By Any Other Name." Shatner is diligently sucking in his stomach.

This brings us to another interesting aspect of the original velour uniforms—their appearance on screen.

“It was one of those film stock things,” Theiss explained. “It photographed one way—burnt orange or gold. But in reality, it was another; the command shirts were definitely green.” [Source]

So, what color was Captain Kirk's uniform really? In truth, Kirk's uniform—like the rest of the command crew's—was olive green. However, under the bright studio lighting and the quirks of 1960s film stock, it appeared gold on screen. The greener hue becomes more noticeable in scenes filmed on location with natural light. The difference is also evident in photos of the original uniforms on display, such as those taken at an exhibit in Detroit, USA. In one image, taken under dimmer lighting without flash, the fabric looks closer to its true green color; in another, taken with flash, it appears more golden.

Left: Kirk's velour shirt photographed without flash—olive green. Right: Kirk's velour shirt photographed with flash—yellow gold.

This might come as a surprise to Star Trek fans, but it makes sense when you consider that Kirk's alternate uniforms—the wrap-around tunic and dress uniform—were distinctly green. This wasn’t an intentional design difference; those variations were simply made from a different fabric that didn’t react to light the way velour did.

“The problem is that a lot of my work is seen on screen for only two to three seconds, and even then, it might be in bad light or at a bad angle,” Theiss noted. “But then, you can't really justify taking two hours to light and block a scene just to showcase a costume.” The play's the thing, according to Theiss. "That's what it's really all about. It's not about the costumes." [Source]

The color discrepancy of the uniforms became an interesting challenge when animators began working on Star Trek: The Animated Series in 1973. They had to decide whether to depict the uniforms in their originally intended green or the gold shade that had become iconic to audiences.

At the time of Star Trek's release, many viewers were watching on black-and-white televisions, making it impossible for them to discern the true colors of the uniforms. At the Kirk/Spock convention, @kiscon, I spoke to a longtime Trek fan who told me she had no idea what color the uniforms were when she first watched the show as a teen. For those fortunate enough to see the series in color, however, the command uniforms became strongly associated with yellow. As a result, changing the uniforms to their intended green in Star Trek: The Animated Series would likely have confused audiences who had grown accustomed to the gold appearance on screen.

Ultimately, the gold uniform was canonized in The Animated Series and used in all fan materials until the release of the Star Trek feature films. Meanwhile, the trousers—whose color had also been slightly distorted on film—remained their original dark ash shade.

Because of these discrepancies, fans often debate which version of the uniform to follow when cosplaying or creating visual content. Many cosplayers choose to replicate the original olive-colored velour, trusting that proper lighting will naturally recreate the golden appearance seen on screen. Others opt for the now-iconic gold shade, reflecting the way the uniform has been depicted in official materials for decades.

Star Trek: The Animated Series (1973).

Ironically, NASA was right in its assumption that jumpsuits would become the norm for astronauts, and Roddenberry was forced to use them in the first feature-length Star Trek film, 1979's Star Trek: The Motion Picture. The multi-colored shirts were rejected by the studio as too garish, and the miniskirts worn by Uhura and most of the female crew members were already considered a relic of the sexist 1960s by 1979.

William Theiss, who designed the costumes for the original series, was too busy with other projects to work on the film, so Gene Roddenberry brought in a new costume designer, Robert Fletcher, who created the Starfleet uniforms now remembered as the worst in the franchise's history. In an effort to avoid comparisons to military uniforms, the studio opted for muted tones ranging from pale blue to dirty beige and nude shades. The result? The Enterprise crew looked more like spa staff than starship officers, and some background extras in nude-tone bodysuits appeared practically naked on screen. Not only did these uniforms make it impossible to distinguish the characters' ranks and departments, but they were also surprisingly impractical. The suits were sewn onto the actors' shoes, meaning they needed an assistant every time they went to the bathroom.

Star Trek: The Motion Picture (1979).

Luckily for us all, in the next film, Star Trek II: The Wrath of Khan (1982), it wasn’t just Khan who was filled with rage—the cast themselves rebelled and outright refused to wear the dreadful jumpsuits again.

Despite the failure of his design, Robert Fletcher remained as costume designer for the next three films, promising changes. In Star Trek II: The Wrath of Khan, the uniforms returned to a more military style, with the lead actors wearing maroon jackets with overlapping lapels that they could dramatically unbutton if their character was meant to look tired or stressed. If you look closely, you’ll notice that these maroon uniforms were actually redyed and slightly modified versions of the jumpsuits from The Motion Picture. The reason for the maroon color? It was the best shade that worked with the existing fabric from the first film. [Source]

William Theiss, reflecting on Fletcher’s designs, commented:

“Bob Fletcher is a very fine designer, and I mean that very sincerely. We don’t design the same way, and there’s no reason we should—or could. It’s apples and oranges. But my personal feeling is, if you go to a structured, woven fabric and do the kind of tailoring and structuring he’s done, it puts those costumes back, historically, 500 years, with shoulder seams and shoulder pads of that type.” [Source]

Star Trek II: The Wrath of Khan (1982). Everyone turned red with anger.

In Star Trek: The Next Generation, Roddenberry reunited with Bill Theiss, and together they decided to bring back the iconic miniskirts as part of the uniform, but with a twist—they wanted to make them inclusive. In The Next Generation, male crew members were occasionally seen wearing the same miniskirts or “scants” (a hybrid of skirts and pants), reflecting Roddenberry and Theiss’s vision of a future where gender norms no longer dictated clothing choices.

However, the social climate of the 1980s and 1990s wasn’t as receptive to this progressive idea.

“Having both actresses and actors in skirts was meant to diffuse any sexist accusations that might have been associated with designs from the old show,” Theiss explained. “It’s also fashionably probable that, 400 years from now, men would wear skants. Even so, there was usually a problem on the set,” he admits, “because some wisecracks were always made.” Theiss emphasized that he wanted his actors to feel at ease in the designs. “I won’t force an actor or actress to wear something they’re not at least 80 percent comfortable with.” [Source]

While Theiss’s designs were undeniably groundbreaking, he was known to be a challenging person to work with. Constantly preoccupied with time and budget constraints, Theiss had little patience for anyone—whether they were directors, producers, or even Gene Roddenberry himself. He was even less tolerant of people who approached him simply to praise or critique his work, or even just to say hello. His philosophy was simple: “Better to be rude than to delay filming.”

Actors, extras, and costume assistants often recalled how Theiss would dart around the set, frantically hemming, tucking, and adjusting costumes between takes. Many of the alien outfits seen on the show weren’t actually "costumes" in the traditional sense. Instead, they were often assembled from patches, ribbons, scarves, curtains, and wire, with actors being "stitched into" them directly on set. [Source]

For example, Janice Rand's iconic beehive hairstyle was crafted from several wigs braided together over a cone. Grace Lee Whitney, who played Rand, recalls running back and forth between the dressing room and Roddenberry’s office with Theiss, constantly piling on more hair. Each time, Roddenberry would stare at her intensely, then declare, “Higher!” Whitney and Theiss would rush back to add more wigs until the hairstyle reached its iconic height. [Source]

One Smithsonian Institute employee, who worked with Theiss in 1992 while preparing for a Star Trek costume exhibit, recalls combing through the Paramount warehouse filled with racks and boxes of costumes. She was amazed to discover that most of the "costumes" were actually scraps of fabric neatly hung on a single hanger. Yet, when these scraps were sewn, tied, and pinned together, they became the iconic designs we now associate with Star Trek.

Andrea Weaver, one of Theiss’s fellow costume designers on the original series, remembers:

“Bill Theiss was a creative designer. His designs for Star Trek were original, rather than distilled from other sources or redefinitions of previous works. This is what I appreciated about Bill Theiss. I thought he was a truly unique and rare costume creator.” [Source]

William Ware Theiss’s contributions to Star Trek are legendary. His uniforms for both Star Trek: The Original Series and Star Trek: The Next Generation remain iconic, instantly recognizable even by those who aren’t fans of the franchise. His innovative, DIY approach to creating futuristic costumes brought a distinctive charm to the original series and left an enduring legacy.

Here are some of his most memorable designs:

Left: Season 2, Episode 11: "Friday's Child" Right: Season 3, Episode 13: "Elaan of Troyius"

Left: Season 1, Episode 15: "Shore Leave" Right: Season 3, Episode 20: "The Way to Eden"

Left: Season 2, Episode 1: "Amok Time" Right: Season 1, Episode 23: "A Taste of Armageddon"

Left: Season 2, Episode 9: "Metamorphosis" Right: Season 1, Episode 6: "Mudd's Women"

Left: Season 3, Episode 5: "Is There in Truth No Beauty?" Right: Season 1, Episode 15: "Shore Leave"

Left: Season 1, Episode 23: "A Taste of Armageddon"Right: Season 2, Episode 16: "The Gamesters of Triskelion"

Left: Season 3, Episode 11: "Wink of an Eye" Right: Season 3, Episode 8: "For the World Is Hollow and I Have Touched the Sky"

[lin-sterling]

DRIP POST 2: E for Everyone Edition

this time it's not a remake per se, it's a re-release lol. this time with handy-dandy item codes to enable you - yes, you! - to partake in my fashion obsession.

simply click on the name of the outfit and it will take you to my godforsaken google doc and show you the codes for that outfit. should show up at the top of the page (give it a sec). hopefully I haven't borked anything.

let me know if there are any issues.

drip post 3 is being cooked as we speak but it will take some time.

IMPORTANT

you need to install some mods

you need to enable the console

don't paste an entire cell of codes into the console, they'll get cut off and you won't get all the items. copy and paste about 2-3 lines at a time

my document has the necessary info but I'm also providing instructions under the cut.

there's an overlap between some outfits so you might get several copies of one item. in this case just yeet them on the floor and let some bum pick them up. or sell them. who am I to tell you what to do.

↓↓↓

the console:

right-click on KCD2 in your Steam library

choose 'Properties'

select 'Launch Options'

put -devmode in the launch options

launch the game and press the tilde (~) key

use ctrl+c and ctrl+v to copy and paste the codes, then just hit enter

the mods:

Refined Garments

Outer Garments

Custom Clothing and Armor

More flower wreaths (there's one outfit that needs this for now but there might be more later)

the drip:

Henry

Black Knight v1, cuirass inside

this is MY HENRY, iconic outfit, never gonna give you up never gonna let you down

2. Black Knight v2, cuirass outside

3. Guardian Angel

my Henry doesn't usually go for white or silver, he's black&gold kind of guy, but I decided we need one outfit

4. Trosky Traveller (before the waspening)

not fully happy with this outfit but it's already err a historical one, I've already gone through Trosky wearing it so I won't retcon it haha

5. THE WASPENING

same shit here, it's a piece of my playthrough history now. weird, bright yellow history

6. Leipa Simp

and now I make new history

7. Bluebell

wasn't expecting this one, it just sort of happened and I weirdly like it

8. Shifty Fella

is he trying to steal your wallet? is his back hurting? why not both!

9. Horse Thief

up to no good this guy. steal your heart, steal your horse, get 60 groschen for his trouble... wait, horse industry is a scam!

10. Armed and Armoured Robbery

can't shoot straight because he's on his way to bisexual awakening

11. Mushroom Enthusiast

those mushrooms won't gather themselves, you know! *cronch*

12. Falconer

all hail the birbs

13. Noble Bastard

when you need something fancy but not too difficult to pull off

14. Night Reader

casual comfy outfit with optional reading glasses. read a nice book at 3 am and watch your boyfriend as he sleeps!

15. Dubious Doctor

impersonating a medical professional during "Fifth Commandment"

16. Reverse Ball and Chain

when you miss a fucker so much you start wearing his colours. except the yellow gambeson you've found had aggressively magenta belts and you had to reverse the order of colours. I figured clown shoes were appropriate in this situation

17. That Mine Is Mine

impersonating a rich fuck during "Via Argentum". rich people wear golden armour, right?

note: actually wearing armour while talking to Buresh is not recommended. apparently it makes you look like a homeless vagabond lol

18. Red Wedding

this wedding also ended in a bloody mess

19. Nostalgic

kcd1 starting outfit colours but now Henry can afford better clothes

20. Dandelion Dance

what a surprise, more yellow shit

Pebbles and her codes are gonna be in the reblog

↓↓↓

[swaloskie]

thinking of starting a new series/format where you guys are the miserable little medical gremlins now.

like. i give you the most batshit House M.D. patient scenario imaginable (someone’s left kidney is haunted, they speak fluent Finnish only when they code, their blood turns to jello in sunlight).

i’ll set the scene. House says something wildly inappropriate and probably illegal. Wilson makes a face. the patient explodes.

and then YOU, bestie, have to diagnose them in the notes, request box or with reblogs.

I'll make sure to read EVERYTHING and repost the funniest one.

would this be stupid. would this be iconic. would you participate. i must know.

[sscardinal7]

Node predictions!

We had seen the constellations before vía King's icon staff when it absorbed the mobs. Only the mobs because that's their obliged origin.

The story mode can possibly take a very similar direction in regards to the technical system. Node's antagonistic ordeal being either the erasion or destruction of the game itself.

For contrast,

The green particles are essentially coding/perhaps the very essence of coding. Every single animation and/or piece of medical technology consists of coding. Second can tap into that code and control it.

Which ranges from manipulation

Restoration

And creation

Hold me on gunpoint because I have absolutely no idea what the dark purple swamp is or why Dark, Chosen, and King are seemingly the victims of it. Guess we'll have to wait until April 21st

[simularity-sims]

I finally have some mod updates!

Lots of updates today!! I’ll list them here, but you can also find them, as always, on the Mod Updates page as well. 

Paranormal Trait – Added support for Life & Death EP. Now has perks for Thanatology and Reaper Career. Also blocks them from having a Fear of Death. Life & Death EP is NOT required for the trait to work. 

Tiny Living Rumbasim Fix – Updated to work with all the latest patches and packs.

Clearly Stinky Pets – Fixed icon code so it works for all game configurations.

Mental Health Medications – Completely overhauled. Now each medication is a separate package. Added new Sleep Aid Medication. Also added new separate “Simularity Pharmacy” on the phones to buy all medications.

Don’t Do That Mods Vol 1 – Updated the “Don’t Be Shy During First Kiss” so that it no longer prevents kissing Grim which is allowed with newest pack.

Don’t Do That Mods Vol 2 – Updated Don’t Do Pushups so that it works for NPCs. Added new Don’t Judge Decor per request.

The following mods have been updated so that their icons work with DirectX 11: Rock Star Career, Archaeology Preference, Candle Making Preference, Coffee Preference, Fabrication Preference, Juice Fizzing Preference, and Tea Preference.

I’m working on some brand-new mods for next time along with some more updates of older mods. I have a new career almost finished, I just need to add the chance cards and then test it out again. I’m also working on a brand-new overhaul of my Graveyard Lot Trait that will have tons more unique buffs for various Sims and many other new features. I think it will be useful even to those who have the new pack with its cemetery venues. 

As for updates, I know that my Paranormal Aspiration needs an update as the social interactions for the reward trait are currently not working right. I’m working on a fix right now. I am also working on my Stop Annoying Calls and Texts which is throwing an LE for some people. I plan to figure that out then also add some new call types to it. 

That’s all I can think of for now. See you all again soon

[zaebeecee]

the following post contains very minor, non-plot spoilers for the most recent Helluva Boss episode

Does anyone else dislike how the Hellaverse is handling the Princes of Hell?

Lemme explain, because I’ve been sitting with this for a couple of days and I would be very interested to hear other people’s opinions.

Now, for the sake of clarity, I don’t have an issue with the Princes themselves. Honestly, I think they’re great, judging by what we’ve seen of them so far. My problem is how, specifically, the Princes are utilized, which I can break down like so:

As we all know, there are seven Princes of Hell: Lucifer, Asmodeus, Mammon, Satan, Beelzebub, Belphegor, and Leviathan (four masc-coded Princes and three fem-coded Princes)

HB and HH together have had five episodes dedicated, at least in part, to introducing individual Princes: Dad Beat Dad (Lucifer), Ozzie’s (Asmodeus), Queen Bee (Beelzebub), Mammon’s Magnificent Musical Mid-Season Special (for fuck’s sake Mammon), and Mastermind (Satan): four masc-coded Princes, one fem-coded Prince

Outside of these specific episodes, the other episodes that contain the Princes with dialogue are The Show Must Go On (Lucifer) and Oops (Asmodeus). Ozzie is also in MMMMMSS (I’m not typing that again). Both are masc-coded.

I’m not forgetting that Ozzie, Bee, and Mammon are in Mastermind, but they’re functioning more as set dressing, because they have no impact on the plot and nothing would have changed if Satan was the only Prince in that episode.

We’ve now, finally, gotten a glimpse of both Belphegor and Leviathan. What I want to know is pretty simple: why is it that, of all the Princes, the only ones who don’t get episode-plot-centric introductions are two of the three women? They don’t even have voice actors. Additionally, outside of their appearances:

Lucifer is referenced repeatedly throughout both HH and HB. The opening HH story is half about him, Charlie talks about him repeatedly, and he’s referenced in several Easter eggs in HB (like being name-dropped in Mammon’s disclaimer in Loo Loo Land).

Asmodeus makes up a large chunk of Fizz’s plot and has one of the most important items in HB, the Asmodean Crystal, named after him (and is the one who gives them out personally). He has a popular club and personally invents, or at least oversees the creation of, basically every sex toy Lust creates.

Mammon owns, like, fucking everything, and his name can be seen on advertisements as early as the second episode of HB. He’s involved in basically every type of business in Hell.

Satan is referenced by the imps as an “oh my god” replacement, as well as being noted in several places to be the one who’s over imps themselves.

Beelzebub has a sign in Husk’s bar and throws parties at her house.

Belphegor has been name-dropped by Bee about not giving her more drugs, and Stolas uses anti-depressants once with her branding. There’s no reference to her in the hospitals, to the point that a lot of the fandom isn’t even aware that the medical district is in Sloth.

Pretty sure Leviathan’s got nothing so far. Also, don’t get me started on “oh good another portrayal of Envy as a two-faced woman to the point that she’s literally both into and not into Mammon to communicate how fickle women are, how innovative”

Yes, all of them are referenced in icons on Blitzø’s phone, not forgetting that either.

Here’s my point: out of the Princes, the men feel like characters who are actually part of the world itself. They have businesses and advertisements, they have products, they’re casually name-dropped as expletives, they feel like they’ve actually made an impact on the world as a whole. By contrast, the women… don’t. Beelzebub’s only impact on the world appears to be the parties that she confines to her own house and a drink brand, Belphegor is only mentioned by Bee herself and one product, and Leviathan is a non-entity. In Ghostfuckers, the villain was a heavily Envy-coded demon, and it would have been fucking trivial to just make it Leviathan with the ability to shape-shift fucking with people, right?

Just… I don’t… Bel and Levi don’t even have voices what the fuck

I might be reading too much into this, but it feels like yet another result of the internalized misogyny Viv is doing a terrible job of masking (things like HH having four initial main characters, and of the two women, Charlie has no character arc and learns absolutely nothing and receives no real consequences for her own mistakes because she exists to bring the plot to other characters so those characters can be the ones to affect it, while Vaggie is the lesbian version of Woman Who Exists To Bolster Male Main Character). There are a thousand ways to integrate Bee, Bel, and Levi into the world of HB, like off the top of my head:

Beelzebub-branded “all you can eat” restaurants, bizarre specialty grocery stores, candy, chips, fast food joints, difficult to identify “meat-like product” snacks, even fucking fad diets like cleanses and weird diet menus and workout videos

Belphegor-branded pharmacies, corner stores, shady cheap motels, vitamin supplements, first aid kits, OTC treatments like pain killers and sleeping pills, emergency clinics in other Rings, illicit substances like miracle pills with mystery ingredients

Leviathan-branded makeup, clothing lines, boutiques, fashion shows, reality television, “Hot or Not” style apps, luxury items, cut-throat talent competitions, anything that encourages influencer-style bragging content

Maybe I’m overreacting, but I don’t think I am. I just feel like there has been substantially less effort put into making the women feel like part of the universe. I was hoping it was because we hadn’t seen two of them yet, but now that they both had their incredibly underwhelming introductions that couldn’t be more “oh right and here are these two also” if it tried, I’m not really inclined to be forgiving here.

[annabelle--cane]

ntn day three:

from a character perspective it is delightful that nona doesn't really care about all the blood of eden cell history and personal drama and is more concerned with being late for school, but from my perspective I am clawing at the walls

nona being the only one to hear words in judith's screaming is so magp 22 mixed signals coded

what's the angel/aim's deal? she/they icon? another body sharer? bill nye the science butch? a vet posing as a human doctor posing as a science teacher?

nona's Secret. hot sauce reacted like it was something medical, like it could be fixed with an organ transplant. the obvious answer is that nona knows bodies really well and is the only one who's noticed that her heart or something is going to give out soon, but I'm not sold on that yet. cannibal nona wants to eat organs? time lord nona needs extra hearts to run at full power? hot sauce just thinks that buying an extra liver would cheer her up?

so much weirdness in the broadcast but the worst thing was 100% brunette ianthe. give that girl some peroxide right now.

john's chapters are just red valley pod

if they harm a russet hair on pyrrha's head I will become the joker

[theside-b]

BL Review: Fight For You 🇹🇼

First things first, I'm biased towards this show, for many reasons. One is that Vidol can do no wrong in my books, knowing how they operate changes perspectives and how to approach their shows, also following the actors interactions outside the main show is part of the ride and if you are not than you are really missing out, and more important, if there is one thing Vidol knows how to do is to get a CP with chemistry and squeeze every drop of it.

Andy Ko and Nelson Ji put so many BL couples of the current season to shame on that department, not even a minute into the show and you can tell that you are in for a treat with them, and of the sweetest kind.

The VBL series are not known for subtlety and Fight For You throws any care to the wind and goes ham on the silliness at episode one; the structure is actually quite similar of another sister series (Stay By My Side) with characters with ulterior motives walking that fine line between what is real and what is not. Here instead of chasing away spirits, Xiao Bai is looking to dismantle a criminal organization that his new roommate got himself involved with in order to pay for his sister's medical treatment. And while that may be the basic premise, the show plays more as co-habitation romantic comedy than an action adventure, and again if Vidol lacks complexity it more than compensates with charm.

The boys are adorable and immediately color-coded by a very special cyborg whose owner is the landlord of the black and white duo, and soon enough they fall into a fake-boyfriends situation (yeah you read that right). Thing is: it's not fake at all. This trope is often played in BL-realm but never quite like this because neither Xiao Bai nor Da Hei make any effort to separate things, if anything they dive headfirst in this new relationship not even bothering to pretend that they are not actually a couple and a lot of the fun comes from that.

It all starts with the brilliant idea of trying to dupe Da Hei grandmother (cantonese actress Lam Sau Kwan, lending some natural charm to another great BL gramma) which obviously backfires. The first half of the show is basically with one acting like they are real-boyfriends while the other desperately wants them to actually be boyfriends. I mean they spend the first dozen episodes playing silly games like recreational striptease and practicing flirting and kissing until one pops a boner, not your typical faux paramour behavior.

Similar to other VBL shows like Anti Reset and Eternal Butler this one also manages to sneak a deep message when you least expect. Here we have familiar dichotomy as theme: Xiao Bai coming from a male-dominated environment while Da Hei is surrounded by a strong feminine presence in his, and the show delves in how that can shape one's personality while the involved manage to retain characteristics uniquely their own. Not so surprisingly for those used to Taiwan, it was after a half dozen episodes of pure silliness that this one sneaked it's emotional high with the couple's grand-fight, when all secrets are revealed and emotions running high for their first time with them, serving tears for two whole episodes before letting the audience breathe again.

It's not all good though. Unfortunately much like it's predecessor Fight For You fails it's side couple, and here there is also a level of confusion that might come from something that goes a little beyond what we see on screen. At the crux of it all is Bu "No Sir" Xing, who shares a past with anti-villain Dou Keyi, and the show traces a clear route for them, from their presentation during the opening to the few moments they share on screen, they are meant to serve as parallel to Xiao Bai and Da Hei. Until Da Bai enters the picture, Xiao Bai's older brother played by BL icon Mike Lin (the original Jerry from Papa & Daddy), and gets everything blurry.

Mike has instantaneous chemistry with No Sir's Matthew Han (another actor from Hong Kong) and what at first seems like a small cameo soon turns into a more substantial role with a much bigger presence through-out the show. Meanwhile Dou Keyi vanishes, his presence barely felt during the series with lesser characters filling the void and EP Joe Tsai even enlisting another BL veteran to step in as villain (HIStory: Make Our Days Count' Thomas Chang in a wicked guest role as a boss gangster).

Another point of contention in this little show is the editing. More than once sequences were confusing or an outright jumbled mess, leaving certain moments quite fragmented. The more action oriented scenes fell prey of that lack of care, with Xiao Bai's knife fight and Da Hei's rescue coming to mind. There is a certain hastiness that hinders the pacing of the show, with events happening in strange disjointed ways that leave a head-scratching feeling behind (the entire sequence of Da Hei finding his way to Xiao Bai's balcony is so clunky that one has to ignore any logic in order to buy it).

It's Mr. & Mr. Smith at first and Romeo & Julio at last, all of that wrapped in one adorable albeit a tad crooked package filled with sweet taiwanese goodness, and although the secondary couple leaves a lot to be desired it doesn't leave a sour taste either, and is not like anyone heading into this was asking for Shake-a-spear. Sometimes a silly time is a good time.

[darkmaga-returns]

The walls are closing in on him now, and he’s not the only one feeling the heat.

This tape is pure dynamite, loaded with names that hit like a gut punch: Spielberg’s buddy Tom Hanks and even the Obamas, the mainstream media’s golden couple—though the masses wouldn’t recongnize them in this light. It’s the kind of evidence that’s kept the elite on edge for decades, a ticking bomb they’ve prayed would stay buried.

Where did it come from? Straight from Wendy Williams, the fearless talk-show icon who’s spent years jabbing at this beast. Right now, she’s caged—locked away in a horror-movie nightmare, a blatant case of medical kidnapping meant to silence her. But Wendy’s not fading quietly. Her loyal team, defying the system that’s crushed her, slipped us this tape—a grenade with the pin yanked out. It’s her last defiant stand, a blazing middle finger to the machine that’s protected these predators for decades, letting them prey while the world clapped for their Oscars and soundbites.

She’s working with us because we’ve been in the same fight for years. We didn’t just stumble on Pizzagate; we hunted it. We are the ones who decoded John Podesta’s coded emails and shared the truth with the world; we are the ones who published Bieber’s cries for help in 2016 when no one else dared. Diddy’s filth? We called out the names while the spineless shrank back. We’ve been at it forever, gathering scars and secrets, biding our time for the perfect strike.

This is that strike—a seismic jolt that could topple their whole rotten empire. It’s not for the faint of heart; it’s a front-row ticket to their collapse.

[rammgender]

[ID: Two flags with a flower-like color palette icon in the center in various tints and shades of the same color as their backgrounds. The first is off-white and the second is pink. /End ID.]

e6e3c2 hexodic | e8b7d0 hexodic

[PT: e6e3c2 hexodic | e8b7d0 hexodic /End PT.]

identities related to the hex codes #e6e3c2 and #e8b7d0. these may be genders, orientations, or any other type of terms. these are the final part 3 of a set of the colors of different medical gloves

hexodic coining post here (link). tagging @hexodic

[thatgreyjedi]

As voted on by you guys, today’s episode of “ThatGreyJedi’s Song Analysis” is the ever iconic yet actually pretty emotional song if you listen the acoustic version (yes, the one from Deadpool 2)

Take On Me by A-ha

Now, I was already considering this as Buddie song WAY before the Contagion Arc, but let’s just say that recent developments have more or less heightened it?! I have quite a bit to talk about, so get comfy while I bring you another English teacher’s pet interpretation of an 80s song in relation to a medical procedure t.v show (and a superhero movie, because why not?).

Let’s start from the beginning of the song:

We're talking away

I don't know what I'm to say

I'll say it anyway

Today is another day to find you

Shyin' away

Oh, I'll be comin' for your love, okay

Now, I can imagine what a lot of you are thinking right now and you’re right! The constant FaceTime calls after Eddie left for Texas. Yeah. That.

No matter what happened that day, whether they’re having the best day or the worst nerves or even going through one of the most absolutely devastating losses of the series, they’re always there for each other. They’ve shown us that for the past 7 seasons, even if it’s for just a few minutes, and it reflects how far one would go for the other, even if it means letting them go (but only for a little bit).

Alright, the next part of this song also SCREAMS 8b:

Take on me

Take me on

I'll be gone

In a day or two

When I sat down to write this analysis, I couldn't stop think about the underlying theme of love, specifically a love that goes beyond the bounds of time and space. A love that isn't simply restricted to warm fuzzy feelings or romantic outings. A love that isn't always easy but endearing through sacrifices and compromises.

Buck and Eddie? They not only reflect love, but they show all aspects of truly loving someone. It's easy to be angry at someone you love for choosing to leave, but there's always the option to be happy for them. Will you be upset? Angry? Hurt? Those are common emotions for any human being to endure and it's alright. Was Buck hurt by Eddie's decision to leave? Absolutely, but he let him go so he could be with their his son. Plus, it was obvious to most of us and the general audience watching this show that Eddie wasn't going to be gone for too long, but we just didn't know when he'd return, with or without Chris. Buck was in that same scenario, TWICE (The first with Abby and the most recent with Eddie)! However, the biggest difference between Abby leaving and Eddie leaving is that the latter's was only ever going to be TEMPORARY. Sure, he would be gone for a time, but Eddie was always meant to come back to LA. Abby, well, she never had any true intentions of staying in LA after her mother died and she never had any reason (at least in her mind) to come back permanently.

So, what's the purpose of this? Why am I even taking the time to even analyze this? Why did this immediately ring a bell in my head as a Buddie-coded song?

Well, as we move into season 9 in the fall, I know that many individuals have strongly stated that they will not be returning to watch the series as a result of Bobby's death. I understand why people are angry at that decision and I can't lie, I was a little upset about 9-1-1's PR response to the beloved captain's death. However, I want to remind people as to why we're here in this online community. We are here because we all share a common belief: Buddie going Canon before the series ends (which is hopefully not for a long time). We have rode this bizarre and insane at times roller-coaster that is one of the slowest burns in all of television history, and I promise you that the fruition of this relationship is coming soon.

[whenshewrites]

Ok ok ok. I decided to do my fic idea that's been rolling around in my head for weeks. It's still a WIP but I made a good amount of progress and I am pretty sure I'm gonna have the energy to finish.

Hope you guys like it.

Chapter 1 / 7(?)

It started as Buck’s idea. They always started with Buck’s idea. Tommy thought wedding anniversaries were for special vacations or fancy dinners, but here they were, three days after their first wedding anniversary, standing on the dusky, warm street corner outside the Pink Pony Club for (B)ICON night. Tommy had never heard of such a thing, but Buck insisted they go.

Despite the growing swarm of people, the bouncer didn’t seem rushed. He checked each ID and paused to size up whoever was in front of him, looking at each club goer with suspicion before letting them through. On another night, Tommy might’ve quipped to Buck about how long the line was taking, about how loud the music was even from outside, but Buck was buzzing with excitement. He found a new shirt, half pink and half purple, to wear over his jeans, and now the shirt rippled slightly as Buck bounced up and down on the heels of his feet. Tommy couldn’t be snarky about that.

Buck offered his ID to the bouncer first. His relaxed smile didn’t budge as the bouncer raised an eyebrow at him and paused. He ushered Buck inside, then took Tommy’s ID. Tommy’s exasperation broke through as the bouncer inspected his license. He was sure this was taking twice as long as it had for anyone else. The bouncer caught a glimpse of his scowl, and, grinning, informed Tommy the club was full. He’d have to wait for someone to leave.

“That’s my husband you just let through,” Tommy started off, but the bouncer just shrugged.

“Fire code, they’re at max capacity. What do you what me to do about it?”

They both tried to stare each other down. Tommy couldn’t believe this guy had been counting the number of people coming and going. He gears up to snap back, maybe mention the fire code violation the bouncer is engaging in by smoking a cigarette not a foot from the door, when a gaggle of laughing kids bursts out the door. The bouncer nods his head and Tommy brushes by.

Buck is waiting in the grimy atrium, gazing at the walls. They’re papered with different community posters: a technicolor ad for a fundraiser at the LA Queer Community center; a banner advertising an all-drag production of Hairspray; a flyer for PrEP. Tommy brushed against Buck, starting to complain about how he almost hadn’t been let in. “You ready?” he asked, hand on door to the club entrance.

Buck looked at him, Tommy didn’t think Buck had heard a word he said. Buck gave his head a little shake. “Yes, yes. I’m ready.”

Tommy pushed the door open, waving Buck through first. He wasn’t sure what had Buck so enraptured a minute ago: the “roommate wanted” ad at the 6-bedroom poly lesbian house a few blocks away? The “AMAB volunteers wanted” for a medical device that looked like a high-tech potato sack? Tommy ducked into the club after Buck, hit immediately with a wave of pounding music and glittery air.

Buck had made it his mission to get them both here for this evening. He lead Tommy out to the dance floor, flashing his toothy smile, shaking his whole body as if he were trying to actually get something off of him for a minute before falling into a rhythmic groove. Tommy rested his arms on Buck’s shoulders and bounced along. Whenever their eyes met, the noise and hustle of the club melted away, and all either one of them could see was the other.

After two songs, Tommy’s ears were ringing. He leaned into Buck, trying not to shout too loudly in his ear: “Want to get messy?”

Buck laughed, glancing down at his phone. “Nah, not yet,” he said, “but a beer to start sounds good.”

Tommy squeezed his shoulder and slipped away, leaving just in time for Eddie to bounce into Buck’s line of vision. “Thanks for coming, Eddie,” Buck clapped Eddie’s shoulder as he grinned. “It’s almost showtime. He is gonna be shocked. He’ll be back with a beer soon.”

“Good luck,” Eddie said. Buck saluted and headed for the stage at the front of the club as a towering drag queen strutted out and called all the contestants for Mx. (B)ICON to come to the front.

The rules were simple. To be the bi icon of the year, you had to do three shots: one of raspberry vodka, one of blueberry vodka, and one vanilla vodka, then perform a talent on stage. Every contestant, the queen said, had signed up with the same talent: lip syncing and choreography. Buck and the eight other contestants filed on stage: he squinted, trying to find Tommy in the crowd, as he and all the contestants except one were shooed away from the stage.

“Are you outta your mind, Evan?” Tommy pushed through the crowd, Eddie behind him. Buck grabbed Tommy’s beer and chugged, wiped his mouth on his arm. He just grinned in response to his husband’s question.

“C’mon Tommy, let’s find a good spot to watch this go down.”

Tommy leaned over, a smile cracking through his serious expression, and kissed Buck. “Happy anniversary.”

The girl onstage was finishing up her routine. “Hey, you think she’s single?” Eddie asked. Buck shoved him as he and Tommy disappeared back into the crowd.

The queen called Buck up: one of only two male contestants, she quipped, and handed him the first little glass.

Buck gulped down the first shot. He couldn’t see where Tommy and Eddie went. At the second shot, he heard a loud whoop that could only be Eddie, somewhere to his left. Eddie was probably laughing, Buck thought, and telling Tommy how all those nights when Tommy was hanging out with Christopher, Buck was actually trying to get his choreography down, Eddie alternating between cackles and suggestions. Down the last shot went.

Buck was not the only one who had even chosen this song to dance to as his talent. The first few bars of “Poker Face” blasted out and his body was in motion. He laughed, he didn’t even bother lip syncing. He just belted out the lyrics as he stepped side to side, the whole world shaking back and forth with him. It was like that earthquake, but fun. The vodka had hit him almost immediately, and he was perfectly drunk: not too far gone, but without a care left in the world.

He landed in his last pose as the music stopped. He still didn’t see Eddie and Tommy in the crowd, so he just yelled out, “I LOVE YOU TOMMY KINARD,” before he walked offstage.

“Well sir, you can buck me any time,” the queen said, stepping back up to call the next person. Buck leaned against the wall, still snickering to himself, and watched the next victim start downing liquor. He felt Tommy’s arm around him and they stood together as the music pounded in their ears.

“By the way,” Tommy interrupted Buck’s rapt attention on the girl currently performing, “I am catching up.” Buck watched his husband take a shot and kissed him. “And Eddie determined that first girl is indeed single.” They stood in their corner, watching the competition wear on. “You definitely did better than them,” Tommy yelled over the applause, as the last person finished her routine. Eddie appeared in front of them, offering up another round.

“Buck, man, I did not know a straight guy could have this much fun at a gay bar.” Eddie clinked glasses with Buck. Buck could almost feel the eye roll flash across Tommy’s face. He tried to make a mental note: remember to make fun of Tommy later, that Tommy’s bet about Eddie someday coming out as – something – was still a losing one.

The queen called everyone back to the stage. Buck lined up with the other nine, every single one of them shifting nervously as she paced behind them, asking the audience to cheer for their favorites.

“Well, queers, I’m glad you all have your opinions, but there is a clear winner here,” she snapped into the microphone. “Emily…please step off the stage. It’s not you hon.” She picked the contestants off one by one, and Buck waited for his name to come. But it didn’t, until it was just him and the girl Eddie determined was single.

“Now, one of you will make a lovely runner-up, I think we can all agree. But ladies, gents, and everyone in between, or both, or neither…please cheer for this year’s Mx. Bicon…BUCK!”

Buck lifted his arms and let a delighted yelp out to thunderous applause.

Tommy and Eddie led the charge of the rest of the audience, jumping onto the stage to throw arms around him and yell as the DJ blasted Poker Face once again. Buck lost himself in the crowd of sweaty, glittery, happy people, until he found his way back to Eddie.

He leaned into Eddie, finally feeling the dizziness hit, and looked until he found Tommy in the crowd. He put his lips to Eddie’s ear so he could talk without screaming, Eddie cocked his head to listen as Buck pointed, smiling, at Tommy.

“I’m gonna have his babies.”