#that era of films was comfort food for them then and its comfort food for us now

[animentality]

Opinions/Thoughts on Sound of Music and Music Man specifically?

(asking because my fiance hasn't seen either and I am planning on forcing him to watch both with me. I grew up watching them yearly as a choir/theater kid)

I have not seen Music Man, but god, I love musicals, so I just might check it out now.

I have seen Sound of Music, though, and while I fully admit it's saccharine and mawkish and maudlin, I still like it.

It's just old-world charming. I know Christopher Plummer hated it, and for good reason, it was his generation's Frozen, but...I don't know. The music doth slap. Julie Andrews is a delight. I find the anti-Nazism in Austria plot to be compelling.

The only song I don't like is the Goatherd song, but mostly because the puppets scared me as a child, and the song is forever linked to my childhood trauma.

I also think that particular song is obnoxious, and I'll hear that fucking goat yodeling in my specifically tailored cell in hell.

But every other song is good!

Controversial opinion time, but...my favorite song from the whole movie is "Edelweiss."

I know most people don't like it, but...I think it's a real crooner. Let me croon Edelweiss all night.

I also like "Climb Every Mountain" which I know a lot of people hate, but. Come on, it builds!!

Maybe I just like crooning, I don't know. But all the songs are good. It's worth a watch, and I hope he enjoys it!

[transform4u]

Just wondering if you can turn Gay Twink boy into a Fat Straight Guy I mean Girls do like a Funny Fat Guy

As you step into the Enigma Emporium, you're greeted by the faint, musky scent of aged leather and old paper. The dim light filtering through the dusty windows casts a warm, golden glow over the eclectic assortment of items that clutter every surface. The air is heavy with a sense of forgotten history, as if the shop itself is a repository for memories long since abandoned.

The walls are adorned with a patchwork of old movie posters, their edges curling and colors faded but still vibrant enough to hint at the glamour of bygone eras. Scenes from classic films mingle with faded band posters from decades past—rock legends and psychedelic fonts from an era when music was wild and unrestrained. The posters are tattered, their paper torn in places, and they form a mosaic of artistic rebellion and cinematic nostalgia.

Every corner of the store is a treasure trove of curiosities. Shelves overflow with old books, their spines lined with stories waiting to be rediscovered. Nearby, vinyl records are stacked in precarious towers, each one a portal to a different soundscape. The items are an assortment of intriguing knick-knacks, trinkets, and relics from a past that refuses to be forgotten.

Suddenly, from the shadowy depths of the shop, a figure emerges. He’s dressed in a striking crimson red suit that seems to shimmer as if imbued with a life of its own. The suit is impeccably tailored, the jacket's lapels sharp and the trousers perfectly creased. His presence is commanding, his demeanor exuding an air of theatricality and mystique. The man's hair is neatly slicked back, and his eyes, behind thin, stylish glasses, sparkle with an unsettling intensity.

"Hello, I'm Robin Morningstar," he says, his voice smooth and melodic. "It seems you've found yourself wandering a bit off the beaten path. Perhaps feeling a little lost or out of sorts?"

Before you can respond, Robin leans in and, with an unexpected gesture of old-world charm, plants a quick kiss on the back of your hand. The touch is oddly electrifying, and for a moment, you feel as if he's drawing something from you, a faint, intangible essence that seems to slip away into the ether.

Your thoughts whirl in your mind, a single phrase repeating like a mantra: "a straight fat guy." It loops relentlessly, making it difficult to focus on anything else.

Robin’s gaze is penetrating, and he utters a cryptic line, “Twinkle, twinkle little twink. I'll give you the size you seek.” Before you can process his words, a rush of disorientation envelops you, and you suddenly find yourself alone in a small, dimly lit dressing room.

Inside, there’s an oversized t-shirt with a logo you don’t recognize and a pair of pants that seem absurdly large for your frame. Despite their enormity, you find yourself compelled to put them on. As you hold up the pants, they sag heavily in your hands, barely containing your figure. You slip them on, and as you struggle with the ill-fitting garment, a deep, resonant burp escapes you, echoing through the room. The air is thick with the lingering scent of old cheeseburgers, beer, and other fast foods.

A smile slowly spreads across your face. "Damn, a cheeseburger sounded pretty good about now," you think, as a fog of cognitive haze begins to cloud your thoughts. Each burp seems to deepen the fog, blurring your sense of self and reality. The room feels like it's closing in, the world outside becoming a distant memory as the fog thickens, and you find yourself enveloped in a sense of comfortable, yet unsettling, disorientation.

As you look into the mirror, laughter bubbles up uncontrollably at the sight before you. The reflection reveals a striking contrast: a delicate, blonde-haired twink swimming in oversized clothing that drapes comically over his figure. Yet, as you continue to chuckle, a strange sensation begins in your stomach—a deep, unsettling rumble that seems to ripple outward.

A darkening, coarse hair begins to spread across your smooth skin, marring the once-pristine canvas. It crawls up your arms, chest, and legs, adding a new texture to the previously clean surface. The glasses you wear slide down your nose, a physical manifestation of the shifting balance in your body.

Your body starts to expand with a slow, deliberate growth. The once trim, lean figure is now overtaken by layers of soft, yielding fat. Your stomach protrudes, stretching your shirt beyond its limits. The fabric strains over a burgeoning belly, which pushes out like a stubborn little hill. The gradual encroachment of fat is relentless, spreading outward and upward, reshaping your torso into a more rounded, softer form.

The growth is gradual at first, but soon becomes more pronounced, as if each second is inflating you with an unstoppable force. Your height increases, and as you grow, so does the canvas of youthful ambitions gone awry. The transformation is marked by a persistent sheen of sweat that glistens on your skin, and a few stubborn acne scars, relics of a teenage struggle, remain etched in your skin.

Your cheeks become rounded and plush, their softness a stark reminder of countless hours spent hunched over screens, bestowing upon you a perpetually flushed, almost cherubic appearance. The double chin that forms beneath your rounded face is a testament to a fondness for instant noodles and soda, resting comfortably over the stretched fabric of your faded Doctor Who T-shirt. The shirt strains against a belly that juts out prominently, like a small, defiant hill that pushes against the constraints of the garment.

Your arms, now thick and doughy, lack any semblance of definition, spilling over the edges of an old gaming chair that seems to cradle your expanding form. You're no longer standing in a dressing, but in some sort of dark basement and sitting in a chair. The chair, once a symbol of idle comfort, now highlights the extent of your physical change. Your legs, concealed beneath cargo shorts that have seen better days, are a tragic sight of dimples and folds. These features bear witness to a life of relentless lounging, each movement slow and deliberate, as though every step is a battle against gravity, which seems to conspire to keep you anchored in place.

Dreams of heroism and grandeur lie nestled amidst half-eaten pizza crusts and forgotten soda cans. You embody a life of unassuming surrender, where the thrill of youthful aspirations has given way to a realm of comfortable, albeit tragic, self-indulgence.

As you gaze at your reflection, a wave of nostalgia crashes over you, pulling you back to a time when your life was filled with vibrant social gatherings and unrestrained joy. You remember the drag race viewing parties with friends, where laughter and camaraderie flowed as freely as the cocktails. The excitement of big social events, dancing to the latest pop hits, and reveling in the carefree, flamboyant atmosphere of your gay life is etched deeply into your memory. Your days were a symphony of pop music, glittering outfits, and a community of friends who shared your passion for celebration and fun.

But now, that world feels like a distant dream, replaced by a new reality. You find yourself embodying the quintessential loud-mouthed nerd, whose presence on YouTube is as inevitable as his rants are exhaustive. Your new persona is defined by an insatiable thirst for obscure trivia and an exuberant, nasally voice that seems to reverberate with boundless energy. Your face is often flushed with the intensity of your rants, framed by a mess of unkempt hair and a pair of thick, black-rimmed glasses that perpetually slide down your nose as you gesticulate wildly.

Your enthusiasm for all things nerdy is matched only by a profound lack of self-awareness. Your speech is a relentless barrage of facts, opinions, and over-the-top exclamations, delivered in a rapid-fire manner that blends a stream of consciousness with frequent interruptions. Your voice rises and falls with dramatic cadence, punctuated by exaggerated sighs and heavy breathing that add to the fervor of your monologues.

“Okay, okay, okay, listen up, people! You won’t believe this! So, Doctor Who, right? I mean, can we just take a moment to appreciate how mind-bendingly amazing this show used to be? But they need to cut it with this woke crap, the Doctor ain't a woman and he ain't gay!

And speaking of brilliance, Marvel Comics! Did you see the new issue of Avengers? The storyline where Thor becomes unworthy and then, oh, what’s her name, Jane Foster, takes up the mantle? Fucking crap.

In this new role, your former life of vibrant gatherings and pop music seems like a distant memory. The once-cherished moments of carefree joy are now overshadowed by an overwhelming dedication to the nerdy realm of YouTube commentary, where the excitement of your past is replaced by the fervor of your current obsession

As you turn off your camera and log on to your favorite porn site, you feel a mix of emotions coursing through your veins. At first, the thought of watching cheerleaders makes you feel disgusted with yourself. You're gay; why would you even want to see these hot bimbo slutty girls? But as soon as the images appear on the screen, something strange happens. Your eyes are drawn to their voluptuous bodies and perfect curves like a magnet. Despite knowing that this isn't what you usually find attractive, there's something about these girls that captivates your attention.

As they start gyrating their hips and moving suggestively for the camera, it becomes harder for you to look away. Your heart begins racing while sweat forms on your forehead - is this arousal? Is it possible that deep down inside, there's still some part of yourself that finds this kind of eroticism appealing? The more time passes by watching them perform sensual dances and showing off their ample cleavage, the more aroused by them despite knowing better not too…

As your hand moves swiftly up and down your shaft, the image of those buxom cheerleaders dancing seductively on the screen becomes more and more intense. You can't help but imagine what it would be like to have one of them wrapped around you, their soft curves pressed against yours as they moan with pleasure. But then reality sets in - you're just a fat straight nerd jerking off to porn while dreaming about something that will never happen. The thought of being alone forever as a lonely fat nerdy loser fills you with despair… yet still, the images continue to fuel your arousal until finally…

You let out a loud groan as waves of pleasure wash over you. Your cock throbs violently in your hand, spewing thick ropes of cum onto the keyboard beneath it. As soon as the orgasm subsides, guilt washes over you once again - guilt for having given into this forbidden desire; guilt for not being strong enough to resist; guilt for knowing deep down that this is who you truly are: just another pathetic loser living out his fantasies through pornography instead of experiencing real intimacy with another human being.

[vetinarivimesy]

Okay okay okay. I'm enough of a nerd that yes I own those damned Disney Star Wars themepark cookbooks, and I've been steadily working my way through most of the recipes in them.

Mostly the recipes are a great balance of fun, interesting, and vaguely deliberately shifted around a really solid base to make it just a little unfamiliar so it's 'space' themed. But actually something you'd be willing to cook, without a million and a half rather finnicky steps and a ton of things to wash up before the thing even meets heat.

(With one or two minor SNAFUs caused by ye olde separated by a common language - tomato paste vs tomato puree woops)

But ahem, anyway that 'spicy' Mandalorian stew, ey?

For all of the advertised heat in the thing... You essentially end up with a rather tasty Japanese style curry with couscous in it, rather than rice on the side.

Nice? Yes.

Spicy? No not really. Even compared to other similarly mild curries, and taking spicy to mean spiced not hot. The Japanese style curry this recipe seems to be based around somewhat infamously comes from the bland for the UK-palette generic curry powder of the Victorians...

Sooo. I am spitefully choosing to follow a large chunk of fandom's example and picking bits of Star Wars at random to pick and choose my canon from... I'm now taking that recipe as 'proof' that Mandalorian cooking... really isn't all that hot.

And yes, I made that Pog soup too. Tasty? Yeah sure. Spicy? ...Eh?

And again, spitefully logicking my way through, which culture is always depicted in the films as actually extremely multicultural, and actually allows its members to retain their home traditions from their roots, and actually is based loosely around Asia rather than the old colonising empire building bounty hunters and rogues mashed with Knights Templar thing that is still the bulk of what the Mandos have?

The Jedi.

Who, notably, are absolutely missing any representation whatsoever in either of the two Disney-era Star Wars cookbooks. Since the setting is post the second Jedi genocide in the Skywalker Saga...

So whilst I'm now headcanoning, Mando food as all bark and very little bite, spitefully and based solely off of a very dubious bit of 'canon'.

I can also with impunity go, Sichuan cooking for the Jedi? Yes. Yes. Yes. Genuinely interesting Indian cuisine? Sure why not? Spicy Uzbek style stews? Great! Shakshouka as fiery as you can get it for breakfast? Amazing! Enough spicy kefta to feed fifty ravenous knights? Fabulous!

There's a brisk, and expensive given they're just cheap space-ramen, trade in the Jedi Temple sector of Coruscant of all the numerous flavours of Space-Buldak Chilli Noodles, since the Padawans basically live off of them.

Swimming in chilli already? Well that's not hot enough for old Master Rancisis! Add more! And don't forget the numbing peppercorns, that's Master Sifo-Dyas's favourite part!

Cue a fanfic, with the usual increasingly irritating set-up. Ahahaha, lets laugh at the culture that supposedly eats nothing but the blandest thing on the menu encounter the Manly Men we only eat the Hottest Vindaloo because we're hard! culture... And... Nope, nosiree the Mandos cannot handle it at all, cue much blue milk chugging, and not from the jedi half of the contingent. Despite all their showboating about how spicy they love their spicy spicy stew, they're like the old stereotype about white Brits in an Indian Curry House in Goodness Gracious Me.

(Seriously still far too spitefully amused that the official 'Spicy Mandalorian Stew' recipe produced bland but tasty comfort food in reality.)

[crowdvscritic]

crowd vs. critic single take // MRS. MINIVER (1942)

Photo credits: IMDb.com

Mrs. Miniver takes place in two eras: the time before September 3, 1939 and the time after.

Before Great Britain declares war on Germany, Mr. Clem (Walter Pidgeon) and Mrs. Kay (Greer Garson) Miniver’s biggest concerns are about money. Specifically, they spend their energy convincing each other—and their upper crust neighbor Lady Beldon (Dame Mae Whitty)—their spending on little luxuries like hats and cars is worthy of their family’s middle class income. Though Lady Beldon does not care for blurring social lines, her granddaughter Carol (Teresa Wright) is more open-minded, catching the eye of the collegiate Vin Miniver (Richard Ney). But everything changes on September 3rd. Vin enlists, Clem volunteers, and Kay makes a bomb shelter comfortable for their young children. For the Minivers, World War II is not just on the battlefield on the continent—it’s here at home.

CROWD // And the Academy’s love affair with World War II begins! Mrs. Miniver is the first of 11 Best Picture winners set during or immediately after the war, which means more than 10% of the Academy’s top prizes have been dedicated to defeating the Nazis. Even among those titles, though, Mrs. Miniver is singular. Casablanca, From Here to Eternity, The Bridge on River Kwai, Patton, and The English Patient follow soldiers and resistance fighters; The Sound of Music, Schindler’s List, and The King’s Speech recount true stories of extraordinary individuals living through the conflict; and The Best Years of Our Lives and An American in Paris depict the struggle to rebuild the world afterward.

Unlike those epics, we only see the Minivers on the homefront. Vin joins the Royal Air Force, but like his mother, we only wonder what he sees from the cockpit. Clem supports the efforts at Dunkirk, but Christopher Nolan still felt the need to depict that rescue of troops in his own film because we never see Clem beyond the horizon of Britain’s shores. Yes, the episodic Miniver lacks the jet-fueled forward propulsion of Nolan’s film, but that wouldn’t be honest with the civilian experience. The family’s skirmishes with danger are few and unpredictable, and in some ways, that makes them more upsetting. When tragedy does strike, it hits a family we’ve laughed and rejoiced with around the dinner table, making this melodrama still moving today.

POPCORN POTENTIAL: 8/10

CRITIC // If there’s any criticism to be leveled at Mrs. Miniver, it’s that its affection for the titular family is blind. Character flaws? Complex motives? Who needs them when you’re trying to create a rousing morale-booster justifying a global conflict still in the court of public opinion? The Minivers and their neighbors are symbolic avatars more than well-rounded individuals, which is just one reason Winston Churchill called this film “propaganda worth a hundred battleships.” In fact, the last scene was literally re-distributed as print and radio propaganda!

Still, given that this particular fight against fascism is one with fewer moral gray areas, romanticizing these people fighting out of uniform has aged better than, say, a film about the Russian Revolution. In the history of cinema, a majority of war films focus on combat and political leaders, while Mrs. Miniver reminds us the people at home—including but not limited to the oft-disenfranchised women, children, elderly, and working classes—can be just as cudgeled by war without enlisting. They may avoid the trenches, but their food, shelter, life, and limb are just as uncertain, not to mention the future of their loved ones serving in the military. With that in mind, who’s to complain about making these hometown heroes so likable? 

It’s also difficult to fault Mrs. Miniver for idolizing its subjects when its cast and its craft are working in tandem with its vision. William Wyler, who still holds the record for the most Best Director nominations at 12, assembled a cast as winning as the parts they were playing, none more than the Garson’s Mrs. Miniver herself. Her hopeful but clear-eyed face of determination creates a center of gravity for the rest of the actors, and the compassion driving her never becomes too syrupy. 

ARTISTIC TASTE: 9/10

[adonisoneca]

Transforming aviation: The Development of In-Flight Entertainment Systems

Since its inception, air travel has evolved greatly, becoming a necessity for millions of people worldwide as well as a luxury for the wealthy. Inflight entertainment (IFE) systems are one of the aviation industry's many innovations that are important to improving the overall traveler experience. What started as straightforward radio shows and silent films have grown into intricate, interactive, multi-channel entertainment centers that meet the various demands of passengers in the modern era. This blog examines the development, features, and prospects of in-flight entertainment systems as well as how they affect contemporary air travel.

An Overview of In-Flight Entertainment's History

Traveling with entertainment started small. When Aeromarine Airways began playing silent films on its flights in the early 1920s, it was the first instance of IFE ever documented. But the real innovation happened in the 1960s when in-seat audio systems—which let passengers listen to radio or music—were introduced. IFE was first seen by airlines as a means of differentiating themselves as air travel grew in popularity, especially on lengthy flights.

More advanced systems began to appear in the 1980s and 1990s; overhead projectors could project movies onto the entire cabin. But because it was impersonal, this one-size-fits-all strategy frequently left many passengers disinterested. Personal screens were first introduced by airlines in the 2000s after it became apparent that customers wanted more control over the entertainment options available to them. Passengers could select from a variety of films, songs, and games on these personal IFE systems. The IFE landscape was completely changed by this personalization, which also paved the way for the sophisticated systems of today.

Modern In-Flight Entertainment Systems: Functionality and Innovation

The in-flight entertainment systems of today are technological marvels. The days of few options and pixelated screens are long gone. Rather, high-definition (HD) displays, touchscreens, and wireless streaming options are provided for passengers. Modern IFE systems have the following essential components:

1. Content Available Instantly

The availability of on-demand content is one of the biggest enhancements to IFE. A sizable collection of films, documentaries, and music is available to passengers. To make sure that frequent travelers always have something new to watch, some airlines even provide content that is updated regularly.

2. Interacting Displays

The difficult unresponsive screens of the past are long gone. Sleek, responsive touchscreens that work similarly to tablets or smartphones are a feature of modern IFE systems. From the comfort of their seat, passengers can easily navigate content, play games, place food orders, and even shop thanks to these screens.

3. Fast internet connection

In-flight Wi-Fi is one of the most revolutionary developments in in-flight entertainment. Although early in-flight Wi-Fi was unreliable and slow, advances in satellite technology have allowed passengers to access high-speed internet at altitudes of up to 35,000 feet. Passengers can browse social media, stream content, and maintain contact with the outside world thanks to this connectivity.

4. Streaming via internet connection

By providing wireless streaming services, certain airlines are elevating IFE to a new level. Through a specific app or browser, travelers can use their computers, tablets, or smartphones to access the airline's entertainment library. In addition to saving airlines money on hardware, this meets the increasing demand for passengers to use their own devices on planes.

5. VR refers to virtual reality

Virtual reality is making inroads into the in-flight entertainment sector, despite being in its infancy. A few airlines have started experimenting with virtual reality headsets, providing immersive experiences like online concerts, city tours, and even meditation sessions. More airlines will probably start providing this futuristic kind of entertainment as VR technology advances.

The Passenger Experience: The Significance of IFE

It is impossible to overstate the value of in-flight entertainment, particularly for lengthy flights. IFE is not only a bonus for many travelers; for many, it's an essential tool for passing the time and reducing cabin fatigue during lengthy flights. An excellent IFE system can greatly improve the overall flying experience by reducing stress and increasing enjoyment.

IFE systems are critical from a business standpoint to preserving client loyalty. Comfort and facilities are major factors when choosing an airline, and a strong IFE program may influence a passenger's decision. Additionally, airlines that invest in cutting-edge entertainment systems are perceived as being more customer-centric in a highly competitive industry, which can increase passenger satisfaction and encourage repeat business.

Trends for the Future: What's Up Next for Cabin Entertainment?

As technology advances, in-flight entertainment systems will also progress. The following are a few trends we should watch in the upcoming years:

1. Customized Material

AI developments will probably lead to airlines providing more individualized content recommendations. AI-driven in-flight entertainment (IFE) systems will have the ability to recommend films, TV series, and songs based on a passenger's past selections or inclinations, much like streaming services on the ground.

2. 5G Internet Access

The speed of the internet in airplanes will be revolutionized by the rollout of 5G networks. Travelers will be able to experience a seamless online experience while at high altitudes, from video conferencing to real-time gaming, thanks to faster and more dependable connections.

3. AR, or augmented reality

Another exciting development in in-flight entertainment is augmented reality. AR could be used for in-flight shopping experiences, where customers can view 3D models of products before making a purchase, or interactive destination guides, providing travelers with an immersive overview of the cities they are flying to.

To sum up

From silent films and static screens in the early days, in-flight entertainment systems have advanced significantly. These days, they are essential to the flying experience, providing a plethora of entertainment choices to keep travelers occupied and cozy all the way. The future of in-flight entertainment appears extremely promising as technology progresses, with more immersive, personalized, and interactive experiences to come. Not only does investing in state-of-the-art IFE systems help airlines satisfy passengers, but it also helps them remain competitive in a world where people are becoming more and more proficient with technology.

[azhmeers]

Learning Activity 3.5, Task 2: What has influenced me?

As a South Asian Muslim who moved to Canada there have been many diverse cultural influences in my life in the areas of fashion, food, architecture, entertainment, and leisure activities.

Food is one of the main unique aspects of my culture. There are a lot of south asian dishes like biryani and kebab that are frequently made in my household as well as pasta which originates from Italy. Living in Canada has introduced me to many new dishes from different cultures such as Chinese and Arabic and also many fusion dishes of different cultures.

In terms of Fashion, my traditional choice are the South Asian clothes such as shalwar kameez which I usually wear during cultural celebrations like Eid and when attending someone's wedding. On a normal day to day I usually wear more of a western styled attire as in my opinion it's more of a comfortable and suitable style in comparison to Canada's climate.

Growing up in South Asia I was surrounded by Architectural structures from the Mughal-era like forts and palaces. There were beautiful mosques in almost every neighborhood. These architectural structures were not only significant because of its beauty, they held an importance in the culture and history of the place. In Canada the architecture is very different. It contains mostly modern buildings like skyscrapers, and big malls. Canada also has many religious structures of worship made like temples, mosques, and churches to serve the diverse cultures and religions in Canada. My personal home in Canada is also a modern house, designed to combat the weather conditions of the place.

A few of my favorite leisure activities are spending time with my family at home or at a family gathering, playing a traditional sport like cricket with my friends, and board games such as ludo and carrom. These leisure activities have their roots from my culture and the place I grew up. Being passionate about board games and sports I later discovered more well known leisure activities in the west like basketball, football, chess and video gaming. I started spending my leisure time mostly with these new activities and they helped me gain a new social circle.

Entertainment has been one of the biggest cultural influences in my life. Through entertainment I discovered other peoples culture and their way of life that differed from mine. Growing up one of my main ways of entertainment was Bollywood films and cultural music but as I expanded my entertainment ways I started watching Hollywood films and started listening to other genres of music like hip hop and metal which gave me insights into how others live and what influences them.

[if-you-fan-a-fire]

"It was at Sing Sing that the instrumentalization of new penological reform found its fullest expression. More than any other prison warden, Sing Sing’s Lewis E. Lawes insisted that the best prison was one in which the prisoners were well-fed, well-exercised, and frequently entertained. Lawes had risen through the ranks of prison administration from the position of prison guard at Clinton, in 1905, to that of Superintendent of the New York Reformatory for Boys, in 1916, and, finally, in 1920, to the wardenship of Sing Sing. He brought with him an unusually acute understanding of the peculiar problems that beset prison administrators in the years after the abolition of prison labor contracting. A first-hand witness to the great disciplinary and political crises that beset New York’s penal system in the early Progressive Era, he also had an intuitive grasp of the “unwritten law” of the prison that the convicts would forcefully defend what they took to be their fundamental rights. Between 1920 and 1943, Warden Lawes carefully and skillfully constructed a prison order based on the principle of the square deal and the morale-building techniques that Moyer had begun to refine at Sing Sing. Grasping that the stability of the prison also depended upon outside forces, he also worked tirelessly to legitimize his administration in a slew of books, articles, radio shows, and Hollywood films.

When Lawes arrived at Sing Sing in 1920 to take up his wardenship, he gave all the prisoners a clean disciplinary slate and placed them in “A” grade. As “A graders,” they were entitled to all entertainment and recreational privileges. Lawes explained that if they broke a rule, they would be demoted to “B” grade, with limited privileges. A further offense would land them in “C” grade, with no privileges. Good behavior would result in promotion to a more privileged grade. As part of this overhaul of the disciplinary system, Lawes reorganized the sale of tobacco and other comforts at the prison, linking the purchase of those “pleasures” to the disciplinary system: He merged the two commissaries to create a single grocery store, and authorized prisoners to purchase a set amount of goods each week, to be determined by the grade they were in. Lawes then set about extending sporting activities at Sing Sing and made the mass media of radio, film, and newspapers part of the fabric of everyday life. He installed a master radio receiving station in the east wing of the prison and appointed a civilian censor, who then relayed selected radio programs to loud speakers and headphone sets around the prison and cellhouse. He also expanded the prisoner baseball program, established a football team, laid down playing fields and handball courts, and gave the prisoners three hours of outdoor exercise time every afternoon in the summer months. Like Moyers and Osborne before him, Lawes continued the practice of having outside teams come to play the prisoners; in 1925, he also organized a memorable ballgame on the prison diamond, between the New York Giants and the New York Yankees (Babe Ruth was reported to have hit the ball over the field wall for a home run; unfortunately, the outcome of the game appears not to have been recorded). Although Lawes understood prisoners’ conception of their elemental rights, he recognized few of these rights as having any basis in positive law (the two he did explicitly acknowledge as properly legal were the right to attend a religious congregation of the prisoner’s choosing and the right to a minimum food allowance.) Nonetheless, Lawes’s actual management of the prisoner indicates that he understood the force of custom in the prisons and that he was very attentive to convicts’ sense of fairness in all his dealings with them.

As at other New York prisons, the new warden retained the Mutual Welfare League (MWL), chiefly as an organizing staff by which to provide entertainments, education, and recreation, and as a disciplinary agency, by which convicts who transgressed minor rules would be policed and punished. Lawes also moved to consolidate his administrative powers viz. the MWL (which, just like outside reformers and embattled politicians, was a potentially disruptive force from the administrators’ point of view). In particular, he took steps to mute the league’s voice beyond the prison walls and to curtail the scope of its activities within the prison walls. The administration clamped down on prisoners’ correspondence with the outside world, and warden Lawes established a censorship office where all prisoners’ outgoing correspondence (whether letters to loved ones or short stories for publication) and incoming mail were scrutinized for subversive content. Lawes also restructured the league’s election process and prohibited the prisoner “political parties” that had emerged in the late 1910s, on the grounds that prison-yard electioneering was overly exciting and emotional for the prisoners, and hence damaging to prison morale. From 1920 onwards, the league’s primary obligation was to regulate the leisure hours of prisoners, Lawes directed; its other obligations were to maintain discipline at these events and to represent prisoners’ grievances and requests to the warden: “The League was to be a Moral force,” insisted Lawes; “If it could not sustain itself in that capacity it was futile and should be eliminated.”

Lawes also maintained the automobile, barber, cart, and tailoring classes and made reading and writing courses compulsory for all illiterate convicts. By 1934, all convicts were routinely administered educational tests. Those achieving lower than the level of the sixth grade were then enrolled in classes taught by a civilian head teacher, two civilian assistant teachers, and twenty grade school convict teachers. Ten prisoners taught more advanced courses, and several convicts were enrolled in correspondence college courses run by the Massachusetts Department of Education. It was under Lawes that psychomedical therapies became a critical component of the disciplinary regime, not merely as a means of classifying prisoners (as the new penologists had initially envisioned them), but as a means of managing convicts’ daily frustrations, depression, and desire to rebel. Like the educational, recreational, and athletic programs, the psychomedical sciences were given over to the therapeutic pacification of convicts. Glueck’s psychiatric Classification Clinic was reorganized and funded by the state in 1926 and proceeded to surveil the entire prison population; clinicians also began attending the warden’s court to give advice on disciplining rule-breakers. Convicts were encouraged to seek psychological and psychiatric advice from Dr. Amos T. Baker and his staff of psychologists and psychiatrists. Throughout his career, Lawes repeatedly made it clear in press releases, radio interviews, and a series of books and articles that high prisoner morale was the immediate objective of his penology, and the peace and security of the prison were his foremost concerns. As he put it in an interview in 1924, under his system:

The men are no longer bottled up, constrained to silence, tyrannized and brutalized by unworthy keepers, or exploited and spied upon. They are permitted some chance of self-expression, some freedom for their personalities. They are shown humane and constructive precepts and they are not repressed, screwed down and baffled. The result is that we have almost done away with those emotional explosions so common in the older kinds of prisons. All acts of violence and attempts at escape are the result of these emotional disturbances.

Lawes conceptualized the various reforms initiated by the new penologists as means to the end of higher morale. On the question of education, for example, Lawes justified the expense of running classes for prisoners: “To me, as a warden, prison schools more than justify their continuance and expansion if for no other reason than to foster and maintain the morale of those prisoners who take advantage of the facilities offered them to study and to learn.” In a similar vein, Lawes argued for the benefits of commercial radio at Sing Sing: “I am happy to report,” he wrote in Radio Guide in 1934, “that since this system has been in vogue, the morale and behavior of the prisoners [have] rocketed sky-ward.” As Lawes conceptualized it, the proper objective of prison management was to facilitate “decent, normal and satisfying expression of personal interests.” This expression was entwined in a system of incentive and privilege that aimed at keeping the convicts more or less happy. Even fire-fighting (for which the convicts were responsible) succumbed to the logic of Lawes’s managerialism. As he wrote, “There is a keen rivalry between the different fire companies and positions on the fire department are frequently given as rewards of merit.” So, too, the death of a prisoner (by natural or other causes) became an occasion for boosting the morale of other prisoners: “When a fellow dies,” Lawes informed an audience at the New School for Social Research in 1931, “whatever his religious belief was, or if he had any, or if he hadn’t, whatever his belief was, it is respected. I don’t know if that helps a fellow that is dead any, but I think it helps the fellows who are left behind” (emphasis added).

Notably, Lawes rarely mentioned the new penological objective of restoring convicts to citizenship. Indeed, he frequently argued that crime originated in the structures and pathologies of modern industrial society itself, and would be eliminated only once those structures were themselves changed. As he saw it, “(u)nder our present social order prisons are a necessary evil.” For Lawes, unlike Osborne and the new penologists, the chief task of prison administration was not to “cure” criminals or deter crime; it was to maintain the peace and security of the prison, both within the institution’s walls and outside, in the large sphere of penal politics.

Although most, if not all, the disciplinary techniques found in Sing Sing and the other New York prisons in the 1920s owed their origins to the progressives, those techniques were being put to different uses and were taking on very different meanings than the ones progressives had intended. At Sing Sing, the enlightened “republic of convicts” became a bargaining table across which prisoners and administrators hashed out a “square deal;” the goal of making good prisoners of convicts usurped that of restoring convicts to manly worker-citizenship. The lament of one new penological investigator, in 1924, was typical:

The emphasis today is laid on the gaining of privileges as a reward for conduct rather than in stimulating the sense of individual responsibility for the common welfare, which is the basis of good citizenship. In one case the privileges are used as a (sic) end in themselves; in the other, merely as the means to a very different, and far greater end.

The disappointed observer concluded that the warden “uses the League chiefly to serve the prison administration rather than uses both the League and Administration to serve society.” Although rehabilitation remained a formal objective of imprisonment, “morale-making” was the guiding principle of the new system. Although both the new penologists and the administrators of the 1920s aimed to produce a prison order in which the convict turned outwards from his self, his soul, or his morbid unconscious and became absorbed in activities that sublimated his mental and physical energies, the new penologists had subordinated those techniques to the overriding objective of socializing prisoners as self-disciplined worker–citizens. After the war, conversely, New York’s prison wardens consistently reiterated that imprisonment’s principal task was essentially managerial in nature: The administrator’s job was to maintain what Lawes referred to as the “morale of the domain” and he was to achieve this by establishing various activities that sublimated the passions and desires of the prisoners.

The morale of the domain depended upon prisoners and keepers entering a double relationship of exchange. On the one hand, prisoners exchanged their good behavior for “good-time”: That is, if they behaved well, they would regain their liberty sooner. In the meantime, they also traded obedience for the gratifying privileges of attending (or playing in) convict baseball matches, watching movies, making use of psychiatric counseling services, and purchasing tobacco and other small pleasures from the prison commissary. Radio, cinema, recreational activities, athletics, access to a well-stocked grocery, and therapy were all part of one pervasively psychological penal order of sublimation. These various activities were comforting commodities to be purchased with the only hard currency a prisoner possessed: obedience. Lawes did not hesitate to plainly state this point: “Naturally the convicts have to pay some price for the possession of such a cherished bounty. The asking price is a matter of obedience.” At Sing Sing, in particular, but to a significant degree in Auburn and Clinton as well, prison order came to rest on a more or less tacit agreement between prisoner and keeper that the former could purchase some measure of pleasure from the latter by resisting the urge to cause trouble. Morale-building, as a technique of maintaining peaceful institutions, took the place of moral reform.

Within a few years of arriving at Sing Sing, Lawes had completed the transformation of the original new penological project into a new, managerialist penal order. Although elements of this penal managerialism could be found in other New York prisons (and in a number of other states, including Texas, Minnesota, Illinois, and California), nowhere was it as fully and systematically developed as at Sing Sing. In the few years either side of 1930, three separate, though related, strings of events – the Baumes laws, prison riots at Auburn and Clinton prison (but not at Sing Sing) and federal regulation of prison labour - would propel Lawes’s system to national notice and reinforce the relevance and utility of penal managerialism."

- Rebecca M. McLennan, The Crisis of Imprisonment: Protest, Politics, and the Making of the American Penal State, 1776-1941. Cambridge University Press, 2008. McCormick, p. 443-449.

The photo shows an officer instructing a Sing Sing prisoner on bed-making, from Lewis E. Lawes, Twenty Thousand Years in Sing Sing.  New York: A. L. Burt Company, 1932, p. 176.

[bintiboutique81]

The Luxurious Lumiere Wrap Dress

Indulge in the timelessness of wrap dresses and embrace a style choice that transcends fleeting trends. In this blog post, we’ll delve into the charm and flexibility of the iconic silhouette and provide valuable styling suggestions for effortless day-to-night transitions.

Wear the lumiere wrap dress with comfortable flat sandals or sneakers to achieve a casual chic aesthetic. Add a woven tote bag and delicate jewelry to finish your look.

Aurore

Stylish maxi dress featuring a romantic wrap style, delicate lace trims and a soft and flowing silhouette. Pair with strappy heels or sandals and a mini bag for a glamorous look.

Lena, Aaron and Kevin are three American filmmakers who travel to rural Quebec to investigate the true story of 10-year-old Aurore Gagnon, a girl who died as a result of heinous child abuse in 1920. The film begins with their arrival, where they witness a series of bone-chilling paranormal events that lead them to try to communicate with the ghost of Aurore.

As if that weren’t enough, the three visitors stick their noses in places they don’t belong, leading to the town residents viewing them as cultural interlopers. This is particularly clear when they visit the local grocery store, where Kevin and Aaron behave in obnoxious fashion by gawking at every food item that they don’t recognize. Lena tries to keep them from making too much of a fuss, but it’s difficult. She’s a likeable character who’s not afraid to make her own mistakes.

Lana

If Lana Del Rey were a Spice Girl she’d be Literary Spice. Over her ten years in the public eye she’s made it pretty clear she’s a big reader – from Nabokov to Bukowski to Beat poetry and the clack of an 808 hi-hat. She’s a Sylvia Plath for the post-tumblr age, a nightgown-clad Walt Whitman of our times.

Her fourth album ’Lust for Life’ is notable in two ways compared to her previous work. For one thing, it’s her first album to feature collaborations – with the likes of The Weeknd, A$AP Rocky and Playboi Carti lending their voices.

Another thing is that this record seems to signal a new direction for her music. It’s less otherworldly than her previous works – more ourworldly, really – and as such it has a more introspective feel to it. Almost as though she’s at the end of an era, questioning her legacy and her relevance, but not without hope. Her most genuinely unguarded record yet. Stylish and timeless, this high-neck maxi dress is made from Oseree’s Lumiere fabric woven with fine metallic threads for a unique shimmer finish.

Charlotte

Charlotte is the older sister of Alison DiLaurentis and the biological cousin of Jason DiLaurentis. She is a very attractive young woman with blonde hair, blue eyes and an oval-shaped face. She is very feminine and wears lots of jewelry. She often styles her hair in bounced curls or waves. She is sassy and confident, and is not afraid to speak her mind.

She is a smart and cunning young girl who grew up at Radley Sanitarium. She was able to escape from Radley by lying and using her intelligence to get what she wanted. She also enjoyed causing chaos for the people around her, especially those closest to her.

She first met Aria Montgomery while under the alias of CeCe Drake, the former best friend of Alison. She was impressed by the way Aria was able to keep her secrets and use her power as a social climber. They became friends and a lot of things happened between them.

Serenity

In a month full of fumbled efforts based on perfectly serviceable ideas, Serenity stands out as a magnificently terrible movie. Its pleasures, like its off-kilter charm, its idiocy, and its brilliant casting, are hard to pin down, but they are there. It's the rare January movie that dares to be as bold and unrelentingly strange as it is, and its results are so wildly off-kilter and disorienting they make the whole enterprise worth seeing.

Matthew McConaughey stars as Baker Dill, a shirtless fishing boat captain obsessed with catching a huge fish that seems to be following him everywhere. The movie operates on a wavelength all its own, from its intense beginnings to its what-the-heck-was-that mid-film twist to its defiantly sentimental finale. Serenity is one of those movies that you see, then spend the rest of your life leaning back in a theater, staring at the ceiling. It's the kind of film that makes you want to hire a set of speakers so you can hear it better. And so you can tell your friends that you saw it first.

Ava

Once loaded with connotations of exoticism and movie-star glamor, Ava now ranks annually among America's most popular girls' names. Unfortunately, Tate Taylor's female-starring shoot 'em up bears this very same name and doesn't quite know how to shake the reputation off.

Jessica Chastain delivers her finest performance as a professional hit woman with an eerily familiar face and manner. Ava's backstory spouts out in convenient montage mode: a gifted student who went off the rails with booze and drugs; a rehab stint; and then a hazily defined black-ops recruitment under the caustic mentorship of Duke (John Malkovich).

Once we establish that Ava is your cliched indestructible contract killer, she starts to show signs of being just a little bit human by questioning why her target was marked for death - something all professional assassins must be curious about at one time or another. But as soon as the film reverts to formulaic action sequences, we're right back in the same old carapace. The climactic nightclub fight feels like it's going to break new ground but ends up merely rehashing genre conventions.

[fgm-1st]

A Message From the Future (Jollibee, 2021)

Link: https://www.youtube.com/watch?v=e-N8K0xRaeY

Someday, the COVID-19 Pandemic will be a period people would all look back to. Being the first plague caught in the digital age, the experiences, feelings, and events that took place in it are likely to be recorded in numerous gadgets that people can easily access. Hence, when Jollibee’s futuristic A Message from the Future commercial came out, it seemed pretty relevant that the events from the lockdown era could be told to the following generations of children and adults alike.

The main plot of the commercial circles the story of a Filipino grandfather talking to his granddaughter about the COVID-19 pandemic in the United States. Here, the elderly man described the time as uncertain and scary, as he lost his job and his wife contracted the disease. However, despite the hardships, their family remained close to each other, relying on each and every member for support and comfort. They were pictured spending time with each other, hoping, celebrating, and of course, eating together with Jollibee meals. Following the heartwarming montage, the grandfather explains to the girl why the pandemic enriched his relationship with his family, despite the challenges that they faced. He tells her that when time becomes difficult, it’s only the family that matters the most, hence one must cherish each other’s presence.

Upon watching the commercial, I came to understand that it reminds its viewers that our family is all we have when we are going through difficult problems. With this, we must take time to appreciate them and spend time with them, like eating meals together. By doing so, we can trudge on life’s problems with a brighter perspective on life.

Looking at the choice of subject, the commercial intends to attract the attention of Filipino families living overseas. Since they are likely detached from their extended households, these people have a greater need to stick with each other. Though the commercial advertises the consumption of unhealthy fast food (Huzar, 2021), it only uses it as a means to amplify the advertisement’s message: the importance of integrity in one’s family. With that, it does not necessarily say that the food itself is good for the audience, but rather, it says that the companionship of eating together is best – especially for Filipinos.

The way Jollibee exhibited this commercial caught my attention. Placing the setting in a foreign location such as the United States, it made the Filipino family virtue stand out even more. In a country where individual orientation runs rampant, family-oriented culture seems like something the viewers need to experience once in a while.

With this, I can say that Jollibee successfully revitalized and popularized the importance of sticking together in the hardest of times. The film suggested various ways to support one’s family too, even in little actions such as showing sympathy or eating together.  It doesn’t require us to eat at fast food restaurants or do expensive things, however, the fact that we uphold the joy of our family is more than enough.

References:

Huzar, T. (2021, December 17). Is fast food bad for you? All you need to know about its nutrition and impacts. https://www.medicalnewstoday.com/articles/324847

[japonismelabo]

A young boy stands in front of the stall of a mushi-uri (Insect peddler) which has various species of 'musical insects' on display. The pictograms on the signs on the left are combined with the character 'mushi' (insect). The vendor is selling four different types of crickets, each one making a distinct chirping sound from one another. There is the matsu-mushi (pine cricket), suzu-mushi (bell-ring cricket) and kutsuwa-mushi (bridle-bit cricket). I'm unsure what type of insect the fourth type stands for - If someone here knows, please let us all know.

In the Heian period (794 to 1185) Japanese aristocrats and samurai regarded these 'musical insects' as prized commodities and they were often presented as gifts to the Imperial palace. Eventually the 'crying insect culture' became so popular in Japan that numerous businesses were formed, creating an entire industry around selling these insects. Insect-breeding practices became more advanced, with different techniques developed to warm its eggs during the overwintering period, which were then sold at higher prices. The insect vendor's stalls are usually decorated in an eye-catching checkered pattern (which I'll also post in the comments below). Even different qualities of insect cages were sold, varying from basic bamboo crafted containers to more extravagant lacquered cages.

Japan's singing insect-selling culture continued to flourish during the Meiji period and the selection of species being sold had increased up to 12 different varieties (including two silent ones - the vibrant, shiny, metallic-coloured 'tanamushi 玉虫' jewelled beetle and the light-emitting 'hotaru 蛍' firefly). However, the devastating results of World War II crippled the insect-selling industry and the wholesalers vanished completely. Despite the nation facing grim situations, where food, clothing and shelter were all in dire need, the people still turned their hearts towards these comforting insects again after the end of the war, for some level of solace and healing. They were slowly being collected again and sold in shopping districts in Ginza.

According to Dutch Journalist, Kjeld Duits (OldPhotosJapan), the cicadas (semi) were also very popular to collect as well. Each species played a different ‘tune’ during different times of the day or month when they appeared, so filmmakers would incorporate subtle sounds from those species into their films for their audiences, in an attempt to reflect scenes taking place during those times. Who knew these 'insect musicians' would be used in such sophisticated works of art?

Over time, there was a gradual shift from collecting chirping crickets and cicadas in favour of beetles by Japanese children, which they would keep as pets and sometimes train them for organised battles with their friends.

During the post-World War II era, the country went through a period of rapid growth known as 'Japan's economic miracle' which pivoted the nation to become the world's second largest economy, after the United States. As the Japan's standard of living rose, their lifestyle equally became more sophisticated. People became more fascinated with cars, white goods and other electronic items. One other theory was that children became more interested in indoor forms of entertainment such as video games - finally signalling the decline of the popularity of the insect-collecting culture in Japan.

Interestingly, decades later a man named Satoshi Tajiri would create a Nintendo video game in 1990, which was based on the concept from his childhood love of bug-catching and battling in the countryside. He named it ‘Pokemon’ (short for ‘Pocket Monsters’) and the franchise would later have an impact on the entertainment industry not only in Japan, but around the world. The brand’s slogan is ‘Gotta Catch ‘Em All’.

Note: Japan's chirping insect-collecting culture different from the one in China in many subtle ways (from the containers the insects were stored in, their diets, how the insects were used etc). There's too much information for one post, so I may create another one in the future.

What are your thoughts about hearing the sound of crickets and cicadas during those days?

This was a long story, but I hope it was insightful to you all.

Written by @AsianHistoryJunkie

海外「なんて面白い国なんだ！」 昆虫を愛でる日本人の特殊な歴史と世界への影響が話題に

[watermelonlovershigh]

Harry Gets Food Poisoning While at Your House

This prompt was requested by this ask and I just put my own take on it. Hope everyone enjoys.

Things to help you understand this story better:

(Boyfriend-Girlfriend/Dating for 2 years/Harry stays over at your place a lot/You ate something different than Harry/Dunkirk Harry era)

(wish that photo was really Harry but unfortunately its not. dead give away by the hand :( )

Harry and yourself decided to order Chinese take-out for a at-home date night. You both scoffed down the tasty food while sitting on the sofa watching romantic comedies. Once you finished eating, you and Harry cuddled together on the sofa under a warm fluffy blanket. You laying on your back and Harry laying on his tummy between your legs, with his head resting on your boobs. While focusing on the film, you run your small fingers in his brown curls and he relaxes into your touch, letting out content sighs.

About an hour after eating, Harry becomes restless on top of you. Before, he was laying peacefully, but now he's squirming every few seconds. "You alright babe?" you question down to Harry on your chest.

"Mhmm my stomachs starting to hurt." he replies truthfully. He's unsure the cause but his stomach is swirling and his heart rate is picking up at the mere thought of having to be sick. Especially the thought of being sick at his girlfriends house during the at-home date you had planed. He doesn't want to ruin it by getting sick.

"Oh m'sorry. Do you think it was the Chinese food?" you speak remorsefully.

"I don't know but I don't want to be sick," Harry says with a voice crack indicating he's actually getting upset, "and ruin our date night." When he finishes his sentence, he starts softly sobbing into your chest.

"Hey, hey, Harry," you say sternly but still in your caring voice, "you would not be ruining our date night. You can't help if your feel sick. Do you maybe want to go sit in the bathroom so you're closer to the toilet?"

Harry just nods his head and you help him stand up from his position on your chest and onto his barley stable feet. Then you guide him to your downstairs hall bathroom because its the closest bathroom to your living room. You walk Harry up to the toilet and help him kneel down in front and you squat down behind him. "I feel so sick y/n!" Harry moans out through shallow breaths.

"It's gonna be okay Harry. I'm right here. It's okay to be sick. I won't be mad." you reassure your boyfriend so he knows he doesn't have to keep in his sick for your sake and so he'll feel better. Because you know undoubtedly he has food poisoning from the Chinese food he ate earlier and if he keeps the toxins in his body, he will just feel sicker and sicker.

Harry's back arches over the toilet as he lets out a sickly sounding gag. You grimace at the noise but know you must keep it together to take care of him and comfort him. He's breathing rather heavy with his mouth hanging open and saliva dripping out into the water. "Shhh babe, just relax and throw up. Your tummy will feel so much better after." you gently coo in his ear. You have one hand rubbing circles on his muscular back and one hand pushing back his curly bangs that's falling in his face. He lets out a harsh dry heave and it follows with a long stream of vomit exiting out his mouth and splattering in the toilet water. You have to close your eyes to not be sick yourself.

In-between spells of emptying his stomach, Harry mutters, "You can leave me in here alone. Don't want you seeing me like this." He is absolutely crazy to think you'd leave him in such a vulnerable state. You love Harry and him being sick doesn't stray you away from being by his side in such a situation.

"Harry, I am not leaving you. I don't care if you're sick. You've seen me sick many times and took care of me each of those times. So I'm taking care of you." you calmly say back. Honestly, Harry feels so sick that he doesn't try and argue with you. If he's being truthful, he's actually thankful you're with him, comforting him, because he hates being sick alone. He may not admit that out loud but its true. Something else that happens when Harry's sick, alone or with someone there with him, he gets emotional. An uncontrollable emotion that follows during or after getting sick. One thing he hates most about this situation right now is looking weak in front of you. He's always so strong and being this vulnerable in your eyes suck.

What Harry doesn't know is that you like this side of him. Not the sick version of course but the weak side. It shows he isn't perfect and you honestly don't think you could even date someone who puts themselves out as such.

Harry forcefully throws up a few more times until he's just dry heaving with nothing more to expel. "I think you're done babe." you tell Harry softly as he's dry heaving with no results.

Harry just shakes his head weakly and replies, "I still feel sick though. My stomach hurts so bad." Tears are rolling down his face and his hands that grip the sides of the toilet seat are slightly shaking.

"I know but I think the toilet is making you feel more sick." You reach over him to flush his puke down the toilet so he doesn't have to look at it a minute longer. Harry sits up straight and turns his head back slowly to look at you. This is the first time you have seen his face clearly since he's gotten sick tonight and the first thing you notice is how red his eyes are, probably from all the gagging and dry heaving, and you see the wetness of his cheeks due to crying. Along with the bit of vomit that his on the corner of his pink lips and line of sweat on his forehead. You feel horrible for him. You'd hate to be in his position but almost wish the roles were reversed, just to take his discomfort away. That's how much you love him. You'd do just about anything for Harry. Even if that means take his food poisoning away from him and have it yourself.

You reach for some toilet paper and rip a piece off to wipe his mouth clean. While wiping his vomit covered mouth, Harry just sits and stares at you. He feels so little right now. Almost like he's a small child who's just been sick and their mum is cleaning them up. Even though Harry is embarrassed he got sick on what was supposed to be a lovely date night where you both ate non contaminated food, watched film after film, trying not to fall asleep, or maybe had some romantic intimacy at the end of the night, he actually feels happy right now. Not happy his stomach is upset but happy he got lucky enough to have a caring girlfriend that is by his side during his ugliest moments. He thinks he may have just fell more in love with you. Seeing how compassionate you are towards him when he's sick.

When you finish wiping around his mouth and a little bit of nasty drainage from his nose, Harry becomes emotional again. Like stated previously, he always gets quite emotional when he's sick but that's not the only cause of his emotions right now. He is also crying because he's thinking about how much he truly loves you and how he never thought he'd find someone with your level of compassion.

You throw away the soiled tissue and pull Harry forward so you can embrace him in a warm hug. You don't really understand why he's crying so much. Is it because his stomach is still hurting or he's embarrassed? "Why are you crying Harry?" you question him then continue, "It's alright. I'll give you medicine to make you feel better. Don't worry about that."

While rubbing both hands up and down his sweaty back, Harry says through soft sobs, "I just love you so much. How did I get so lucky. I've had partners in the past to push me away when I was sick and you didn't. You stayed and took care of me." He lifts his head so he can view your face when he mutters out the rest. "I'm gonna marry you one day you know. Want to call you my wife. Want to have lots of babies with you. Be with you till I'm a hundred. Promise I do."

His words have brought tears to your eyes. Knowing how grateful Harry is that you're taking care of him when he's sick means so much. You didn't think twice before helping him when he said he felt sick, so it must be the true love you feel for this man crying in your hold. With a shaky smile and watery eyes, you look at him in his glossy green eyes and say, "I would kiss you right now but I have a feeling your breath smells like puke so I'll pass. Love you so much Harry and of course I took care of you. I love you and that's what you do for the people you love. Take care of them in their weakest moments."

You hold him for a few more minutes on the bathroom floor until your bum gets sore from the hard tiles. You help Harry stand to his feet and walk him to your bedroom located up the stairs of your house. Then you help him slide into bed and tell him you'll be right back with some medicine and a glass of water.

A few minutes later, you come back with the upset stomach tablets and water for Harry to take and ease his turning tummy. Once he's taken the medicine, you go grab your mini trash bin in your bathroom and place it beside the bed incase he feels like he's gonna throw up again. Then you turn all the lights off and crawl under the warm blankets with your boyfriend. Without hesitation, Harry scoots over and places his head on your chest. He's past the point of being scared to look weak. He just wants comfort and the one thing that brings him the most is you. The love of his life. "Thank you for taking care of me tonight." Harry whispers with a hoarse voice.

"You don't need to thank me babe. I was glad to be there for you. I know you don't like getting sick and I was happy to at least make the experience a little bit better. Now go to sleep and if you feel sick again, the bin is on the floor beside the bed for you. Also don't be afraid to wake me up if you feel nauseous. I want to be there to comfort you." you reply back in a whispered tone. You kiss the top of his messy curls and Harry relaxes into your hold on him. Feeling safe and secure in your loving arms. Then you both fall fast asleep.

Thankfully Harry didn't get sick anymore through-out the night and the medicine you gave him seemed to have worked. The next day he was just exhausted form exerting so much energy being sick the day before but other than that, his stomach felt calm. You made him homemade chicken soup and cuddled him in bed, watching his favorite movies all day. Loving every second you get to spend with Harry before he has to leave and go on his world tour in a months time.

MASTERLIST & My Favorite Harry Styles Fics MASTERLIST

[bakasaiga]

Sesshomaru & Rin: InuYasha's Healthiest Dynamic

The Case for SessRin, Platonically & Romantically

Read the full article here: Sesshomaru & Rin: InuYasha's Healthiest Dynamic by bakasaiga

Art Credits: @bamb.bieun via Instagram

Why Sesshomaru and Rin have the healthiest dynamic in the InuYasha franchise. Covering content from the InuYasha manga, anime, films, drama CD "Asatte," and aspects of the sequel series, "Yashahime: Half-demon Princesses" (also known as "Hanyo no Yashahime").

Introduction

This article aims to explore the rationale for “Why Sesshomaru and Rin have the healthiest dynamic in the InuYasha Franchise” as I want to focus on their dynamic, and use this word over a "relationship." Because a relationship oftentimes has the connotations of romance, overlooking notions of the platonic nature of relationships. This analysis will focus on Sesshomaru and Rin throughout the InuYasha franchise (anime, manga, films, drama CD, and sequel), mainly analyzing the events depicted in the original series, where they are at the time, platonic.

The Significance of the First Encounter

Sesshomaru meets Rin in episode 35 of the anime/chapter 129 of the manga, following his unsuccessful battle with InuYasha’s wind scar. Tenseiga, knowing its owner’s life is threatened, sends Sesshomaru to a place that it knows is safe, peaceful, and conducive to his well-being. That place being the nearby forest of Rin’s (at-the-time) home. When Rin first meets Sesshomaru, she recognizes the pending danger of his presence — he’s not human, but he’s hurt. And to some degree, she likely resonates with that. Sesshomaru was all alone, hurt, mentally non-intact, and the most vulnerable we had seen him in the series (even compared to him losing his left arm as we hadn't seen the aftermath of that yet until episode 133-134). She’s a poor peasant girl who’s suffered immense trauma, suffering, and loneliness. Her initiative to help Sesshomaru came from her generosity; her empathy in seeing someone who reminded her of herself. She offers him food and water, to his dismay of course. But does not take no for an answer — this establishes a part of her personality that may be overlooked: her unwavering and kind-hearted stubbornness. She does not take no for an answer. Rin probably thinks to herself that her fish she gave him was not good enough because she’s been conditioned lately to believe that she’s not good enough. She returns to the village reserve and steals some fish, not for herself, for him. After receiving a beating, she does not flinch or show any signs of remorse but progresses on with her merry way. At this point, it’s observable that despite knowing her story, her scars, and her difficulties, humans do not even empathize, let alone sympathize with Rin. It is the feudal era, after all. She’s a young, disabled orphan and the villagers only see her for what she lacks: a voice, a family, and a place of belonging.

When she returns to Sesshomaru, without the fish, Rin is visibly shyer, feeling like she had failed her mission but she nonetheless returns out of her stubborn, kind-hearted and generous nature. Sesshomaru would never accept her attempts of rescue, but her dishevelled and pained appearance intrigues him. When he asks about her bruises, this is the first time anyone had ever afforded her a second glance.

The audience can see Sesshomaru calculate her body language, recognizing that she is mute. Instead of pressing her further or ignoring her outright, he attempts to comfort her (in his own way), making her feel that it is okay if she chooses not to answer him; that her desire to reply to him should only be a desire, not an obligation. I think, on one hand, that was the first moment of something that would resemble compassion that Sesshomaru had ever administered, trying to put himself in her shoes — if someone had asked him to do something that required, for example, his left arm, he probably would have appreciated them saying “you don’t have to do it if you don’t want to” so to provide him agency for something that he actually cannot do. And the same goes for Rin. He recognizes her disability, maybe even resonates with it and decides to empower her with a choice. Choice is important when it comes to the Sesshomaru/Rin dynamic and it’s a word that will come up often. This is the first of many choices that Sesshomaru allots Rin in dictating their soon-to-be long-lasting relationship, laying the foundation for their connection as the series progresses.

"The first time she was revived, the moment she opened her eyes, they exchanged a soul gaze, which harmonizes the energy between two people. They maintained deep eye contact for nearly half a minute. There were no words, Rin had no opportunity to say thank you, and Sesshomaru asked her no questions. They said all that was needed to be said through their silence."

-Lawless Lane, Sesshomaru and Rin: The Silent Soul Love

The next time Sesshomaru sees Rin, it is suggested that he actively sought her, whether it be by curiosity or concern for well-being. It's evident that Sesshomaru had never experienced an interaction like this before and if we just collect the facts we know about him, his reaction is quite logical. He had been born into aristocracy to political parents and was a lord the moment he left the womb. Everyone around him feared him or needed something from him. His chance of a genuine relationship (friendship, family dynamic, or even romance) would have been limited and/or superficial from the get-go. They see him in armour, finely dressed, and never vulnerable. But when Rin first meets him, she doesn’t treat him like her lord, king, or anybody special, she is immediately exposed to his vulnerability. She sees him at his worth. She treats him just as she would likely treat anyone else if they were in need. Rin’s authentic and warm smile plant the seed of compassion in his icy heart because he hadn’t come across this type of raw intention for well-being and to his deduction, he could have felt one of two things (maybe even both): (1) compelled to reward her with another shot at life selflessly, and/or (2) an inquisitive desire to seek that perplexing feeling that her smile gave him. When Rin wakes up, the first face she sees is his. When she died, the last face she saw was his, albeit imagined. Upon her revival, she pursues him without a single word from either party...

Read the rest here:  Sesshomaru & Rin: InuYasha's Healthiest Dynamic by bakasaiga

[flufffysocks]

let's talk about andi mack's worldbuilding

sorry this took forever to make! i've been pretty busy with school stuff and i kind of lost my inspiration for a bit, but i ultimately really enjoyed writing it! i wish i could've included more pics (tumblr has a max of 10 per post), and it kinda turned from less of a mini analysis to more of an extremely long rant... but i hope it's still a fun read!

i've been rewatching the show over the past few weeks (thanks again to @disneymack for the link!), and i’ve been noticing a lot that i never did the first time around. this is really the first time i’ve watched the show from start to finish since it aired, and it honestly feels so different this time - probably a combination of the fact that i’m not as focused on plot and can appreciate the show as a whole, and also that the fandom is much, much smaller now, so there’s a lot less noise. so the way i’m consuming this show feels super different than it did the first time, but the show itself doesn’t - it’s just as warm and comforting to me as it was the first time around, if not more so.

i think a lot of that can be attributed to andi mack’s “worldbuilding”. i’m not quite sure that this is the right word in this context, to be honest, because i mostly see it used in reference to fantasy and sci-fi universes, but it just sort of feels right to me for andi mack, because you can really tell how much love and care went into constructing this universe. for clarity, worldbuilding is “the process of creating an imaginary world” in its simplest sense. there’s two main types: hard worldbuilding, which involves inventing entire universes, languages, people, cultures, places, foods, etc. from scratch (think “lord of the rings” or “dune”), and soft worldbuilding, in which the creators don’t explicitly state or explain much about the fictional universe, but rather let it’s nature reveal itself as the story progresses (think studio ghibli films). andi mack to me falls in the soft worldbuilding category. even though it takes place in a realistic fiction universe, there’s a lot of aspects to it that are inexplicably novel in really subtle ways.

so watching the show now, i’ve noticed that the worldbuilding comes primarily from two things - setting and props, and oftentimes the both of them in tandem (because a big part of setting in filmmaking does depend on the props placed in it!).

one of the most obvious examples is the spoon. it really is a sort of quintessential, tropic setting in that it's the main gang's "spot", which automatically gives it a warm and homey feel to it. and its set design only amplifies this:

the choice to make it a very traditional 50s-style diner creates a very nostalgic, retro feel to it, which is something that's really consistent throughout the show, as you'll see. from the round stools at the bar, to the booths, to the staff uniforms, this is very obvious. the thing that i found especially interesting about it though is the choice of color. the typical 50s diner is outfitted with metallic surfaces and red accented furnishings, but the spoon is very distinctly not this.

instead, it's dressed in vibrant teal and orange, giving it a very fresh and modern take on a classic look. so it still maintains that feeling of being funky and retro, but that doesn't retract from the fact that the show is set distinctly in modern times.

of course, this could just be a one-off quirky set piece, but this idea of modernizing and novelizing "retro" things is a really common motif throughout the show. take red rooster records. i mean, it's a record shop - need i say more? it's obviously a very prominent store in shadyside, at least for the main characters, but there's no apparent reason why it is (until season 2 when bowie starts working there, and jonah starts performing there). a lot of the time, though, it functions solely as a record shop. vinyl obviously isn't the most practical or convenient way of listening to music, but it's had its resurgence in pop culture even in the real world, mostly due to its aesthetic value, so it's safe to say that it serves the same purpose in the andi mack universe.

the fringe seems to be nostalgic of a different era, specifically the Y2K/early 2000s period (because it's meant to be bex's territory and symbolic of who she used to be, and its later transformation into cloud 10 is representative of her character arc, but that's beside the point). to be honest, exactly what this store was supposed to be always confused me. it was kind of a combination party store/clothing store/makeup store/beauty parlor? i think that's sort of the point of it though, it's supposed to feel very grunge-y and chaotic (within the confines of a relatively mellow-toned show, of course), and it's supposed to act as a sort of treasure chest of little curios that both make the place interesting and allow the characters to interact with it.

and, of course, there's andi shack. this is really the cherry on top of all of andi mack's sets, just because it's so distinctly andi. it serves such amazing narrative purpose for her (ex. the storyline where cece and ham were going to move - i really loved this because it highlights its place in the andi mack universe so well, and i'm a sucker for the paper cranes shot + i'm still salty that sadie's cranes didn't make it into the finale) and it's the perfect reflection of andi's character development because of how dynamic it is (the crafts and art supplies can get moved around or switched out, and there's always new creations visible).

going back to the nostalgia motif though, the "shack" aspect of it always struck me as very treehouse-like. personally, whenever i think of treehouses, there's this very golden sheen of childhood about it, if that makes sense. i've always seen treehouses in media as a sort of shelter for characters' youthful innocence and idealistic memories. for example, the episode "up a tree" from good luck charlie, the episode "treehouse" from modern family, and "to all the boys 2" all use a treehouse setting as a device to explore the character's desire to hold onto their perfect image of their childhood (side note: this exact theme is actually explored in andi mack in the episode "perfect day 2.0"!). andi shack is no exception to this, but it harnesses this childhood idealism in the same way that it captures the nostalgia of the 50s in the spoon, or the early 2000s in the fringe. it's not some image of a distant past being reflected through that setting; it's very present, and very alive, because it reflects andi as she is in the given moment.

some honorable mentions of more one-off settings include the ferris wheel (from "the snorpion"), the alley art gallery (from "a walker to remember"), SAVA, the color factory (from "it's a dilemna"), and my personal favorite, the cake shop (from "that syncing feeling").

[every time i watch this episode i want to eat those cakes so bad]

these settings have less of a distinctly nostalgic feel (especially the color factory, which is a very late 2010s, instagram era setting), but they all definitely have an aura of perfection about them. andi mack is all about bright, colorful visuals, and these settings really play to that, making the andi mack universe seem really fun and inviting, and frankly very instagrammable (literally so, when it comes to the color factory!).

props, on the other hand, are probably a much less obvious tool of worldbuilding. they definitely take up less space in the frame and are generally not as noticeable (i'm sure i'll have missed a bunch that will be great examples, but i'm kind of coming up with all of this off the top of my head), but they really tie everything together.

for example, bex's box, bex's polaroid, and the old tv at the mack apartment (the tv is usually only visible in the periphery of some shots, so you might not catch it at first glance) all complement that very retro aesthetic established through the settings (especially the polaroid and the tv, because there's really no good reason that the characters would otherwise be using these).

besides this, andi's artistic nature provides the perfect excuse for plenty of colorful, crafty props to amplify the visuals and the tone. obviously, as i discussed before, andi shack is the best example of this because it's filled with interesting props. but you also see bits of andi's (and other people's) crafts popping up throughout the show (ex. the tape on the fridge in the mack apartment, andi's and libby's headbands in "the new girls", walker's shoes, andi's phone case, and of course, the bracelet). not only does doing this really solidify this talent as an essential tenet of andi's character, but it also just makes the entirety of shadyside feel like an extension of andi shack. the whole town is a canvas for her crafts (or art, depending on how you want to look at it. i say it's both), and it immensely adds to shadyside's idealism. because who wouldn't want to live in a world made of andi mack's creations?

and, while it's not exactly a prop, the characters' wardrobe is undoubtedly a major influence on the show's worldbuilding. true to it's nature as a disney channel show, all of the characters are always dressed in exceptionally curated outfits of whatever the current trends are, making the show that much more visually appealing. i won't elaborate too much on this, because i could honestly write a whole other analysis on andi mack's fashion (my favorites are andi's and bex's outfits! and kudos to the costume designer(s) for creating such wonderful and in-character wardrobes!). but, i think it's a really really important aspect of how the show's universe is perceived, so it had to be touched upon.

[^ some of my favorite outfits from the show! i am so obsessed with andi's jacket in the finale, and i aspire to be at bex's level of being a leather jacket bisexual]

and lastly, phones. this is a bit of an interesting case (pun intended), because the way they're used fluctuates a bit throughout the show, but i definitely noticed that at least in the first season terri minsky tried to avoid using them altogether. these efforts at distancing from modern tech really grounds the show in it's idealist, nostalgia-heavy roots, so even when the characters start using their phones more later in the show, they don't alter the viewer's impression of the andi mack universe very much.

so, what does all of this have to do with worldbuilding? in andi mack's case, because it's set in a realistic universe and not a fantasy one, a lot of what sets it apart from the real world comes down to tone. because, as much as this world is based on our own, it really does feel separate from it, like an alternate reality that's just slightly more perfect than ours, which makes all the difference. it's the idealism in color and composition in andi mack's settings that makes it so unmistakably andi mack. even the weather is always sunny and perfect (which is incredibly ironic because the town is called shadyside - yes, i am very proud of that observation).

the andi mack universe resides somewhere in this perfect medium that makes it feel like a small town in the middle of nowhere (almost like hill valley in 1955 from "back to the future"), but at the same time like an enclave within a big city (because of its proximity to so many modern, unique, and honestly very classy looking establishments). it is, essentially, an unattainable dream land that tricks you into believing it is attainable because it's just real enough.

all this to say, andi mack does an amazing job of creating of polished, perfect world for its characters. this is pretty common among disney channel and nickelodeon shows, but because most other shows tend to be filmed in a studio with three-wall sets, andi mack is really set apart from them in that it automatically feels more real and tangible. it has its quintessential recurring locations, but it has far more of them (most disney/nick shows usually only have 3-4 recurring settings), and it has a lot more one-off locations. it's also a lot more considerate when it comes to its props, so rather than the show just looking garish and aggressively trendy, it has a distinctive style that's actually appropriate to the characters and the story. overall this creates the effect of expanding the universe, making shadyside feel like it really is a part of a wider world, rather than an artificial bubble. it's idealism is, first and foremost, grounded in reality, and that provides a basis for its brilliant, creative, and relatable storytelling.

tl;dr: andi mack's sets and props give it a very retro and nostalgic tone which makes its whole universe seem super perfect and i want to live there so bad!!

[tyrantisterror]

THE A.T.O.M. CREATE A KAIJU CONTEST 3-D!!!

YOU THOUGHT YOU WERE SAFE!  YOU THOUGHT THAT THE TIME OF MONSTERS WAS AT AN END!  BUT YOU WERE WRONG, FOR NOW YOU MUST WITNESS…

THE A.T.O.M. CREATE A KAIJU CONTEST 3-D!!!

That’s right, it’s back!  Celebrating the publication of The Atomic Time of Monsters Volume 2: Tyrantis Roams the Earth! (which in turn completes The Ballad of Tyrantis arc for this series), I’m holding another monster design jam.  The third of such jams, in fact!

Like the first A.T.O.M. Create a Kaiju Contest, the aim of this contest is to create kaiju that would fit within the setting of my big kaiju story series, The Atomic Time of Monsters.  Think of it as me letting you into my sandbox to play with my toys for a bit, or like you’re being put in the director’s chair of a new ATOM-verse kaiju movie.  That means your entry does have to fit into ATOM’s world, which in turn means that yes, there are limitations to your creativity here.  But limitations can be good sometimes - they can make us explore options we wouldn’t consider when given completely free rein to do what we want!

(also you don’t have to make a three dimensional image or anything, the title’s just a pun on how the third movie in a monster movie franchise will often be a 3-D film)

Read below the cut to learn the rules and whatnot:

THE RULES:

1.  You are limited to one entry per person.  Work hard and make your entry count!

2.  Your kaiju must have some sort of description of its physical appearance and its personality - you can submit a drawing or a written description (or both!) for the physical appearance depending on what you’re most comfortable with.  Using the same template/format as my official ATOM Kaiju Files (https://horrorflora.com/monster-menageries/atom-kaiju-files/) isn’t required, but it was cool when people did it in the last contest, so feel free to do so this time too!

3. The kaiju you create must specifically be created for this contest  - no repurposing characters you made for other, wildly different stories.  This is not “trick TT into drawing/canonizing my main OC” time.

4. The kaiju must fit the setting and aesthetics of ATOM.  I’ll explain this in more detail down below.

5. The kaiju should add something meaningful to the world of ATOM. The more unique and interesting your kaiju is, the more likely you will win the contest.

6. Don’t make your kaiju too dependent on pre-existing ATOM characters - no “Tyrantis’s long lost evil brother who’s the strongest kaiju in the world.” These should be to Tyrantis’s story what War of the Gargantuas is to Godzilla’s movies – heroes (well, monsters) of another story in the same world.

THE REWARDS:

I will make pencil sketches of the top 5 entries in the contest.

I will then make fully rendered illustrations (lineart, colors, & shading) of the top three entries.

The winning entry will be made into a model ala the ones I’ve been making for ATOM’s core 50 monsters, which can then be shipped to the person who created it (should they be able to cover the shipping costs).  That’s right, your kaiju could be brought to life in THREE GLORIOUS TECHNICOLOR DIMENSIONS!  (Hey, we worked the gag title in to the prizes!)

THE DEADLINE: All entries must be submitted by July 3rd, 2021.  You can submit it here on tumblr, via the horror flora e-mail, or any other channel you know how to reach me through.  I’m in a lot of places.

THE GUIDELINES (TO HELP YOUR ENTRY FIT THE RULES AND WIN):

The smartest thing you could do if you want to win this contest is familiarize yourself with the world of ATOM by, y’know, reading all the material I’ve published on the subject.  In addition to the many kaiju files that are free to read on horrorflora.com, there are now TWO, count ‘em, TWO novels in this series for you to peruse, both of which establish many of the rules of the setting as well as its general themes and tone!  You can get them in either paperback or e-book formatting (I’d recommend the former over the latter since I lack the technology to make a really nice ebook, but if money is an object, the kindle version is only $1).  Here’s the links again if you missed them:

Vol. 1: Tyrantis Walks Among Us!

Vol. 2: Tyrantis Roams the Earth!

However, since I know reading a bunch of stuff is, y’know, not something everyone is inclined to do, I’ll jot some good bullet points for you in an attempt to outline how ATOM works in a brief, easily digested way:

ATOM is an homage to the monster fiction of the 1950’s and 60’s (i.e. the Atomic Age), and is set in those two decades, albeit an alternate universe version of them where, y’know, monsters and space aliens exist.  If you aren’t familiar with the monster fiction I’m referring to, there will be some reference material provided at the end of this post along with some recommendations for further research.

Kaiju/giant monsters in ATOM work under very specific rules.  There’s a full description of those rules at this link, but here’s the jist:

ATOM Kaiju are created created by the radiation of a mineral called Yamaneon, which naturally converts harmful radiation into its own unique energy.  In natural circumstances, it takes hundreds of years of exposure to Yamaneon radiation for a creature to become fully transform into a kaiju (luckily, Yamaneon radiation slows the aging process while speeding up the healing process).  However, an explosive burst of energy - such as the geothermal and kinetic energy released by an earthquake, or the blast of a nuclear weapon - can speed up the process, turning a normal animal into a kaiju within a matter of seconds.  

All ATOM kaiju can heal grievous wounds within minutes or even seconds, are supernaturally strong and durable, and can convert harmful radiation to harmless energy that they then feed off of.  Kaiju do not have an equivalent of old age, and can theoretically live forever (though their violent lifestyle means that few do).

ATOM Kaiju generally don’t need to eat unless they are severely injured, getting most of the energy they need from solar or geothermal radiation - but many still have instincts that drive them to seek out food from time to time.

Most ATOM kaiju stand roughly 100 feet tall (depending on their body shape), i.e. smaller than the original 1954 Godzilla.  There are exceptions to this rule - younger kaiju can be smaller, while exceedingly old kaiju can be significantly larger, but these are rare.

In general, ATOM kaiju are significantly more intelligent and emotionally complex than people expect animals to be, though most are incapable of speech or complex tool use.  There’s a reason ATOM Kaiju Files have a “personality” section.

Most ATOM Kaiju are tooth and claw fighters - ranged weapons are a rarity in this setting.

While the terrestrial monsters in ATOM look strange, they are intended to fit within the taxonomy of animals in reality - reptiles, mammals, fish, arthropods, molluscs, etc.

ATOM’s mesozoic era was dominated by a fictional clade of crocodile-relatives called retrosaurs, which are based on the outdated paleoart that one would find in the 1950’s/60’s fiction - i.e. when dinosaurs were viewed as trail dragging lizards instead of strange birds.  You can learn more about retrosaurs here (https://horrorflora.com/2016/11/15/atom-kaiju-file-bonus-a-guide-to-retrosaurs/).

Kaiju appear on every continent in ATOM, but certain areas tend to be dominated by different types.

North America is mainly besieged by retrosaur kaiju and giant arthropods.

East Asia is technically also mainly plagued by retrosaurs and big arthropods, though they tend to look more fantastical and mythic - and, often, oddly well suited to being portrayed by a person wearing a monster suit.

Russia is beset by prehistoric monsters that seem to come from the Cenozoic, particularly the Ice Age.

Western Europe is plagued by creatures that vaguely resemble creatures from myth, if they were also prehistoric.  Dragon-y lizards, fiery birds, etc.

Towards the mid-way point of ATOM’s timeline, earth is invaded by a coalition of aliens from different solar systems called the Beyonder Alliance, and as a result a bunch of alien monsters can be found on earth.

Mars and Venus both host (or hosted in Mars’s case) animal life.  The surviving Martians colonized Venus, and sent some of their kaiju guardians to earth to help us fend off the Beyonders (who are responsible for the destruction of Mars’s ecosystem).  Martian and Venusian kaiju have specific anatomical quirks, which you can see by looking at these kaiju files:

Venusians:

https://horrorflora.com/2017/01/03/atom-kaiju-file-29-karamtor/

Martians:

https://horrorflora.com/2017/01/17/atom-kaiju-file-39-kemlasulla/

https://horrorflora.com/2017/01/17/atom-kaiju-file-40-podritak/

https://horrorflora.com/2017/01/17/atom-kaiju-file-41-sombarvot/

https://horrorflora.com/2017/01/17/atom-kaiju-file-38-ullawdra/

Giant robots exist in ATOM, but are big, bulky, and incredibly expensive.  Fancy beam weapons also exist, but are similarly clunky - there are no sleek, elegant machines in ATOM.

Since the fiction ATOM takes inspiration from was made at a time when interplanetary travel was only just beginning to be possible, its scope is significantly smaller than modern sci-fi.  Alternate universes/dimensions were pretty uncommon because the idea of alien planets still held a lot of wonder to it.  So, as a general rule, don’t try to go farther than the one galaxy.

ATOM is a setting for stories that are focused on humanity learning to coexist with monsters, rather than humanity destroying them.  A certain level of sympathy is put into almost every creature of its canon, even the ones that are meant to be villains.

REFERENCE MATERIAL

Here is a playlist of 1950′s monster movie trailers.  

Here is some reference material from various monster comics of the 50′s and 60′s. 

Good movies to track down to understand ATOM’s inspiration and tone include Ghidorah the 3 Headed Monster, Son of Godzilla, Destroy All Monsters, Them!, The Black Scorpion, 20 Million Miles to Earth, Gamera, The Giant Claw, and The Lost Skeleton of Cadavra.

And here’s the intro cutscenes for all the different giant monsters in the PS2 videogame War of the Monsters.

[neversatisfiedwithlife]

for the mostly likely to thing, i saw these questions on a glee page awhile ago, but if you want to answer them for cazzie that’d be great :p

1. Who spends almost all their money on the other?

2. Which one drives the car and which one gives them directions?

3. Which one gives the other a piggyback ride when they’re tired?

4. Who is the most affectionate?

5. Who falls asleep in the others lap and who carries them to bed?

6. Who wakes up first?

7. Who apologizes first after an argument?

8. Who is the nerd?

9. Who makes the other one laugh the most?

10. Who sleep talks?

11. Who hogs the blankets at night?

12. Who is the neat freak?

13. Who likes to surprise the other with random gifts?

14. Who buys the healthy food in the house?

15. Who has better music taste?

16. Who takes care of the spiders?

17. Who uses more nicknames

18. Who’s the little spoon?

19. Who suggests scary movies for film night?

20. Who gets jealous more often?

21. Who brings up kids first?

22. Who borrows who’s clothes more?

23. Who cries more during sad movies?

24. Who falls asleep on the other more?

25. Who says I love you more?

26. Who initiates kisses more?

27. Who initiates hugs more?

28. Who takes more pictures of the other?

29. Who leaves notes for the other one around the house?

30. Who gets drunk faster?

31. Who gets hit on more by strangers?

32. Who makes food for the house more often?

Most likely to:

(I love that you found it on a glee page! Anyways of course I want to do them!!!)

This is long so get comfortable besties😌 I didn't proof read so all mistakes are on purpose.

Spend their money on the other: Casey would spend a larger portion of her money on Izzie or just like on things they can do together. (I think Izzie would just be engrain to make her money go as fat as it can so she's more restrained or critiac about how/where she spends her money)

Which one drives the car: this one is simple, its Casey. Do we even know if Izzie drives? (Like ideally being the one who takes care of her siblings it'd help, but anyways. Yes Casey is the driver, I can see Casey love being the one behind the wheel. Also how she was with Sam I could see her as a back seat driver or like "why didn't you take this route" just asking stuff even if she tries not to. So in the end it's just easier to have her drive lol)

Which one gives the other a piggy back ride: we saw Casey lift Izzie up so I'm obligated to say Casey! (Okay so picture after a track practice Izzie is really exhausted; the work load of school and babysitting her siblings really hitting her that week. Casey offers her a piggy back ride, Izzie is skeptical at first, but Casey is so reassuring about it)

Who is the most affectionate: ooh this one is hard overall I think I'd say Izzie, Casey more initiates kissing, but Izzie just likes to be touching Casey. (While watching tv Izzie will have her hand resting on Casey's leg, or like sit close enough to where their shoulders touch, the way Izzie stretches out herself on top of Casey when they're in her bed. Izzie initiates hand holding)

Who falls asleep in the others lap: Izzie established cannot stay up for the life of her plus again we got the cazzie bridal style carrying scene!! (I think even more cuddled up to Casey she definitely can't stay awake, she'd just feel so safe and at ease. Lights out comes quickly lol)

Who wakes up first: Izzie is up first, again this is me seeing her as the caretaker of her siblings and not going on Casey's painful track running schedule. (Ik in that one episode Casey is up first, but casey was trying to avoid Izzie, anyways Izzie probably has to get her siblings up for school or just make sure they're fed and what not so I can see her generally being conditioned to wake up first.)

Who apologize first after an argument: I feel like this totally depends on the argument; who/what started it and what it's about. Generally both are good at apologizing and don't stretch out the argument (sorry if that's like a cop out and not a definitive answer)

Who is the nerd: Izzie without a doubt (i feel like she enjoys learning new things. Maybe she doesn't necessarily love studying school material all the time, but also I feel like maybe studying started as an escape or distraction from always being her siblings care taker and soon she just learned to love it. Or just loved knowledge)

Who makes the other one laugh the most: I say Casey, they both definitely make each other laugh but Casey takes it to another level. (Like when paige is at the door and Casey is like "do you think that's them here to kick us out in person". Casey uses humor to help Izzie unwind when she's too in her head about stuff.)

Who sleep talks: Casey, why do I feel like one of them actually slept tall? Am I hallucinating...what is happening. (Anyways I feel like Casey like if she had a nightmare or something she'd mumble in her sleep and like startle awake. Or of she's really stressed and overwhelmed she's in a more restless type sleeping state)

Who hogs the blankets: (I did answer this) But Casey hogs the covers, I'll add that Izzie is fine just curling up in a ball above the blankets and fall asleep. (Why did I have the thought they're doing laundry the blankets aren't dried yet but when they finally dry Casey finds Izzie sound asleep on the blanket less bed)

Who is the neat freak: I wouldn't say either of them are nec a neat freak, but I feel Izzie would want things in particular locations and Casey can just roll with it.

Who likes to surprise the other with random gifts: Izzie, though she doesn't spend large portions of her money she likes finding small things,knickknacks or like stuffed animals or just like a sweet, that will make Casey happy. (Having younger siblings that she actively has to care for has taught her that it doesn't matter the size of the gift or if it's sparkly)

Who buys the healthy food: Casey clearly didn't approve of Elsa's green stuff sticking out of the back so definitely Izzie. (Izzie enjoys her fare share of snacks but she knows the day has to be balanced with more than "empty" calories. She is patient though in finding the healthy stuff that Casey actually likes.)

Who has better music taste: I'd say Casey in that she would have a more diverse music taste, she'd expose herself to more genres and like eras of music (Izzie feels like a whatever is on the radio or popular on the music charts-this is not slander just vibes I get lol)

Who takes care of the spider: definitely Izzie (I can see her being the person who catches and releases it while Casey is just telling her to "squish it, squish it!")

Who uses more nicknames: probably Izzie, I feel like she uses a more diverse collections of nicknames for Casey. Just like whatever fits the moment. (Casey would just use Izz, dude and a choice pet name)

Who's the little spoon: IZZIE!!! Miss curl up into a ball and fall asleep, she'd definitely pull Casey's arms to wrap around herself.

Who suggest scary movies for film night: I think Izzie is the one to coax them into actually watching a movie, but Casey is actually the one who enjoys them more or is just less put off by them? (Casey totally teases her, never goes too far, about it before the movie.)

Who gets jealous more often: I feel like this belongs to Izzie, like she has more self doubt and insecurities about how much she deserves Casey.

Who brings up kids first: Izzie does, maybe they're studying and making useless conversations, they're on the topic of her siblings. (Maybe you'd thing dealing with kids all her life and an unsupportive mom would put her off; but I think it doesn't. I feel like Casey just genuinely never stopped to really think about kids. Or maybe she thinks she wouldn't be good with kids. Like yes shes amazing with Sam, but to her that's not the same. Izzie reassures her she'd make a great parent, if she wanted to be.)

Who borrows who's clothes more: I could see Izzie borrowing a shirt or hoodie to lounge in, but I dont see it regularly. (Also Casey I noticed wears like oversized shirts often so I dont think the fit of Izzie's clothes would satisfy her.)

Who cries more during sad movies: Casey does. It is something she will deny with her entire being, but it's her.

Who falls asleep on the other more: I'll choose a specific situation for this, not a general thing: when they're talking on the phone late at night I actually think Casey would be the one who ends up falling asleep. (Ik this probably meant literally but this is where my brain went)

Who says I love you more: I feel like Casey. (I feel like for Casey the environment she was raised in it just is easier for her to say it, or it comes more naturally. Izzie uses actions to show her love because sometimes the words I love you coming from her own mouth feel foreign).

Who initiates kisses more: Casey, I think she both initiates kisses and "steals" kisses more.

Who initiates hugs more: if I say Casey with no explanation you have to accept it!

Who takes more pictures of the other: Izzie takes more pictures of Casey (I can see Casey as the person who just loves to pull stupid(affectionate) poses that make Izzie laugh. Also idk I feel like Izzie would be less inclined to have her picture taken and Casey would respect that. They would definitely take pictures together inspite of that though because Izzie wants to capture every moment with her girl.)

Who leaves notes for the other around the house: this plays into the nicknames thing, I think Izzie would leave the most cute/ridiculous notes with like the most cute/ridiculous nicknames for Casey. (Ik Casey made the tarot deck but I can just visualize Izzie doing this lol, sue me.)

Who gets drunk faster: Casey. I see Izzie as the one who has more parties in her past, and ofc she drank so she has more tolerance. Especially being at clayton longer with the track gang and Nate 🤢 (Izzie having to take a drunk Casey home early because she can barely stand on her feet securely, this is when Izzie gets to drive 😌)

Who gets hit on more by strangers: I think Izzie, she gets hit on more by disrespectful men and Casey shuts that down right quick.

Who makes food for the house more often: Izzie, I think she totally loves cooking. She loves trying out new recipes and has a bunch of cookbooks.

[hariosborn]

 sirius black fic rec list!!

okay but imagine having sirius black fall in love with you...a concept 😌

the feeling that we’re meeting again by @writesowhatnext

cross house relationships!!!!! literally yall are missing out if you project yourself into the same house as your lover!! you’re missing out on the tension, the passion, the romance!!! and once you get out of hogwarts and that tension is still there!!! post hogwarts sirius!!! hes so hot!!! and grumpy >:) you can never go wrong with slowburn fics!! 

the risk of love by @with1love1anu

ive been following anu for foreeeeeever and she never fails!! her writing is always so good and shes one of my favorite marauders era writers <33 you’ll see as you go down this list - but i love pining fics like im obsesssssed!! ooo and this one has a hint of best friend james and it just makes the story 10x better! 

breakfast in bed by @wondernimbus

when authors are 14 years old but can write flawlessly even though i struggle doing simple short stories in english class 😘not but fr ysa is such a good writer xx. breakfast in bed! what would yall eat 🤔if we’re talking abt english food (like food from england) idk what they eat over there tbh but i would pick roasted potatoes and waffles for breakfast :) wait actually no i wouldn’t, id probably do french toast with powdered sugar, strawberries, and french fries. ik it sounds weird but i had that the other day and i teared up, it tasted so good. but in this fic they have something even better!! have you ever wondered what it would be like to have toast, strawberry flavored muffins, and fruit for breakfast, all from the comfort of your bed, with the one and only sirius black? well look no further bc this fic has that and everything more!! 

godmother by @blisfvll

jen does it again!! coming through with the godmother!reader x godfather!sirius fics <33 (shes on this list three times bc she just writes so much good sirius content 😫) not to be morbid but when im gone i want someone to talk abt me the way sirius talks about the reader 😔i just love the way the sirius talked about her so lovingly and treated her like this ethereal being and painted her like this angel bc that must be so comforting for harry knowing that not only are his parents looking after him but his angel of a godmother is too ♥︎

oh shit + pt2 by @im-a-writer-right 

big brother remus am i right! as the oldest child, i love reading fics where im the younger sibling bc i just want someone to be able to look after me and care for me and be protective abt who i date bc they’re like “ i just don’t want you to get hurt” 😔 but anyways - this was a rlly cute and funny fic! i love snarky sirius and butthead james and overprotective remus and scared of falling for her brothers best friend reader :) if you like those all too you should read this one 😌

warnings by @blisfvll  

i felt like i was watching a short film! i loved this one! its so well written that you can like watch the play by play of everything happening in your head, like its sooo good! im sorry i keep putting so many angsty fics on this list 🥺👉🏼👈🏼 they’re just all so beautifully written and jen is such an amazing writer <33 

just a natural fact by @iliveiloveiwrite 

MILLIE!! YOU DID IT AGAIN!! guys if you are not following millie pls do i freaking love her sh*t and shes so far been on every fic rec list ive made :)) back to the review tho! im a very big fan of those timeskip fics like where theres a scenario for every year at hogwarts - and this one is one of those and i just - AGHHHGH!!! idk if this counts as a slowburn but like as someone who injects themself into the hogwarts timeline and pretends to be studying for her NEWTS when shes really doing AP work - i love reading about study sessions w remus where sirius tries to interject himself so he can be close to you 😊i dont want to spoil anything but like the tagline “Break my heart. Break it a thousand times if you like. It was only ever yours to break.” RUINED ME!! and you know what! i’ll do it again! i will read this fic and let it ruin me three more times and ten more times and however many i feel like! so yes, if you couldn’t tell, i love this one, and you guys should totally read it

die for you by @blisfvll 

i like to torture myself with sad fics so now im passing them along to you so we can all cry together ;( domestic life with sirius is something so very personal to me 😌so ofc i jumped at the idea of being harry’s godparent along w hubby sirius! but do not be fooled by my review - this one is sad - but its totally worth it!!! the things we do for baby harry am i right?? i am right 😌

wrapped around my finger by @remusishotterthansirius

jealous sirius jealous sirius jealous sirius!! oooo and when he growls >:)) i love the idea of being like this unattainable magical being in sirius’s eyes and you’re just like completely unaware of his feelings and it just adds to the mystery about you like imagine him sitting with the marauders by the black lake and him picking at a flower being like “she loves me, she loves me not, she loves me, she loves me not” and then him being all sad and pouty once the petals are all gone and he was left with ‘she loves me not’ :(( but  n e  ways - this was so cute and so masterfully written and i just love everything this author puts out so do not be surprised if you see at least one of their works on every single one of my hp fic rec lists >:))

misunderstandings by @imagineitup

oof this one really played with my heart! you know those fics where someones feelings are painfully obvious and you just want the other person to finally realize so they can both be put out of their misery and then go on to have this cute relationship BUT NONE OF THAT CAN HAPPEN UNTIL THEY COME TO THE REALIZATION THAT THEY ARE CAPABLE OF BEING LOVED!!! i love those fics and this is one of them :)))

thats all for my recs! sorry this ones so short - ive been drifting in and out of life, and school has been hard for me. there was a lot more to this list but a lot of my favorite writers have left tumblr so i dont have as much to share w yall 😔and theres obviously so many more amazing writers out there, im just sharing what i know! i’m thinking of just finishing up the other fic rec lists i have and then im going to move over to anime recs! ive been obsessed w haikyuu lately and theres a lot of fics i want to share with others - so if you guys don’t stick around for that i totally understand - but don’t worry im not making that switch till much later ✌🏼love you all so much! hope you’re all taking care of yourself, but dont worry if you’re not, its always a process so don’t put too much pressure on yourself to get stuff done and make sure to celebrate what you do get done! congratulate yourself when no one else will, and remember i’ll always be in your corner cheering you on! 

happy reading!

- love, hari !!