Name of actors in esurance commercials
No Small Parts: Smaller Roles Before They Were Famous
2019.08.22 18:26 heidismiles No Small Parts: Smaller Roles Before They Were Famous
Screenshots or clips of famous actors in early minor roles!
2007.09.17 20:44 Entertainment
For news and discussion of the entertainment industry.
2012.05.19 20:47 kjoneslol /r/kpics - for all your K-pop picture needs
/kpics - High Quality, unedited images of Kpop and the Korean Entertainment Industry. K-pop (Korean popular music) is a musical genre consisting of pop, dance, electropop, hip hop, rock, R&B, electronic music originating in South Korea. In addition to music, K-pop has grown into a popular subculture, resulting in widespread interest in the fashion and style of Korean idol groups and singers.
2024.05.17 09:38 BlackIvoryPAAC Stuckism, Punk & Heckel's Horse - extract from interview with Other Muswell Hill Stuckist founder
Read the full interview at https://edgeworth.blog/2024/04/27/me-a-doll-interview/
PUG: Jompiy are quite a lot like Damien Hirst’s spin paintings.
EJ: I liked his figurative paintings that Tate didn’t include any of, in that solo show that had virtually everything else he’d ever done. I think Tate will be showing Heckel’s Horse before long.
PUG: What makes you think that?
EJ: It would be poetic. Darth Vadar comes to his senses and everyone’s rescue. There’ll probably be some new maverick Director that comes along and wants to make an easy name for herself.
PUG: How about a Heckel’s Horse Jr. show there instead? I liked the Heckel’s Horse Jr. book.
EJ: Thanks. They’re currently available to all our Fan Club members on Tiers 2 and 3. If someone was interested in finding out more, all they’d have to do is simply visit https://blackivory.org/fan-club/
PUG: Is there anything planned for Heckel’s Horse?
EJ: As far as I can tell, it’s on the back burner till whoever’s in charge decides the time’s right for a show. Billy’s been trying to push things along for years, pretty much since we started doing them.
PUG: You need this new Tate Director.
EJ: We need someone to forcibly step in with the interest, clout and balls to act irrespective of any commercial consequence or fretting what the art world and its clientele think. Like some benevolent Stuckist ex-hedge fund manager who says “Let’s do a show because of all that stuff in the Stuckism manifesto.”
PUG: Like a hostile takeover. Might Heckel’s Horse Jr. being published speed things along for Heckel’s Horse?
EJ: Apparantly the opposite. It might put them off, but whatever. It shouldn’t be all beholden to any audience thing. There needs to be a punk movement in Contemporary Art. Like Black Ivory but slightly more influential. None of this prissy “We’re not allowed to do this, we’re not allowed to do that. The clients might not like this, the clients might not like that.” I don’t know anything about how the art world functions but there’s an obvious staleness and near-universal obedience to it. Then you get things like Stuckism or our semi-Stuckist-splinter-group Black Ivory that, like opt out of the audience as target idea. That are happy to be a disgrace. I think they asked the bass player from the Manics what it was like walking around dressed up in their band gear, round their local working-class mining village in skirts and makeup, and he says “We just wanted to be hated.” I like that about Stuckism and the seemingly repellent and toe-curling bridge-burning stuff we do. The term “target audience” is business talk for a reason. Target audiences are for things like Persil Automatic, not artists. Artists worrying about this stuff is just depressing and I guess is all counter-productive to what they’re after anyway.
PUG: How would it be counter-productive?
EJ: Because it’s like some saggy-headed donkey that’s given up. Part of the shuffling crowd, which is shame if your art isn’t. Not believing in yourself. That’s how it all looks to me anyway. When I see photos of Stuckists prancing around in clown costumes outside Tate it’s so appealing. They’re building walls between themselves and the people everyone else is so desperate to be approved by.
PUG: So can Black Ivory save Contemporary Art?
EJ: We’ll stack a load of six footer Heckel’s Horse Jr. paintings against the walls. A few in the front room with the sofas, tables and chairs and whatnot. I’ll be walking round with a full teapot. Invite some friends round and do it as Stuckism would do it. Leave the evidence on our YouTube channel as Van Goghian proof for future generations that today’s Contemporary Art wasn’t just the text book stuff.
PUG: Stuckism was quite punk influenced but the art world’s still largely what it was beforehand.
EJ: Stuckism bothered. Like leading a horse to water. It’s like even the anti-establishment are only considered successful when the establishment accept them. The Other Muswell Hill Stuckists should do a manifesto about it. Stuckism‘s not for our benefit, it’s for yours. Our “failures” are your problem. We’re waking up and painting either way. We don’t need the art world. We don’t need the Turner Prize to show us what a decent painting looks like. I’m only talking about it not shaking up the artworld obviously, not the work or anything important, but like we’ve both done loads of Stuckist Turner Prize demos, published a Stuckist Turner Prize manifesto, as far as I know, the Turner Prize is still going strong. So what? Did the demos fail? Are our paintings worse now? If nothing else, it’s nice to get out the house. I like the Turner Prize demos because it’s like getting bashed on both sides. By the establishment and the hipsters. Usually it’s like, choose a team: brand A or brand B and kid yourself there’s a difference. The establishment think they’re winning and the hipsters think they’re cool and anti-establishment. Stuckism chooses neither, which I see as the only real anti-establishment. Stuckism‘s failures, if anything, proove its success becuase punk succeeded in it’s non-musical objectives, it became chart music. No chance of Stuckism falling for that one. How’s that for a theory? Failure isn’t failure. Failure’s success because failure’s longevity and success is failure. Stuckism‘s a roaring failure.
PUG: A new punk Tate for Heckel’s Horse.
EJ: I did some assistant work for Jimmy Cauty years ago, on these glittery riot shields. I think around 2016. The tracksuit bottoms still have the gold glitter and PVA stuck to them. I can’t remember if I was talking about Heckel’s Horse or something else, but Billy and I couldn’t have done too many by then. It might have been something else, but I tell Jimmy we’ve done all this work and nothing’s getting published, and he says ‘So, when’s the bonfire?’ The man who burned a million pounds. Ten years later, he we are, same situation. Thankfully, as far as I’m aware, still no bonfire. So overall, things are going great for Heckel’s Horse. All the paintings are still probably in existence.
PUG: Just a lot more of them now.
EJ: I’ve got this image of Heckel’s Horse paintings being taken at night to some secret billionaires island off the South Kent coast and chucked on a blazing fire with a load of men in white suits standing round drinking champagne, each with a cigar between their teeth going ‘Ha! Ha! Fuck you Edgeworth!’
PUG: Then there’d just be the Heckel’s Horse Jr.’s left and you could sell them for millions.
EJ: You’re a genius.
PUG: All those paintings will end up in a show at some point.
EJ: It’s been eleven years. Could be another twenty, thirty. I had this paranoia, they’d pretend they were by Billy and cut my name out. If Billy and I aren’t around. Even if I’m still around, who’s going to listen to me?
PUG: Do you reckon?
EJ: I don’t even know who it was, but some lying fart-face decided it would be alright to pretend these monoprints Billy and I collaborated on would be better sold off as ‘by Billy Childish’ and not by both of us. So that’s what happened. Like a click of the fingers, “Bye bye Edgeworth.” Pretty unimpressive, I thought.
PUG: Didn’t you say anything?
EJ: No, what’s going to happen? Better to say nothing then moan about it ten years later. The way I see it, I’m not the one lying so it’s not my problem. Do you know what I mean? It shouldn’t be on me to object if they’re doing it on purpose.
PUG: So it’s not like Damien Hirst and his assistant’s painting butterflies.
EJ: No. It’s sort of, not wanting to flatter the people that erased my attribution with the idea they’re worth bothering with. Because it’s not like I was upset or felt hard done by. It was just disillusionment in one thing, addressed by the creation of another, Black Ivory Printmaking & Audio Club. If anything it’s a net positve. “So that’s the kind of people you really are. What a fantastic opportunity!”
Damien Hirst’s different. It’s all declared and everyone knows the deal. There’s nothing dodgy about it. It’s not like some slippery gallerist-type shifts the goalposts after the works done, like they’ve got some licence to change the truth. The buyers know what they’re buying, the artists know what they’re doing. These monoprints were a thick painterly transfer technique I came up with and haven’t seen anywhere else. Until I see any that look similar, as far as I’m concerned, it’s a type of monoprint of my invention. And they think they can just sign that away from me. If people see mine now, the ones I did independently using the same technique, they’ll probably think I copied it from Billy, which I think’s quite a liberty. “Taking Berty’s.” as we said at school.
PUG: Didn’t they ask you about it first?
EJ: No, I just get emailed after with some apparent excuse. If you’re some no-name pushover like me, I guess they think it’s alright. It might all have been a lot more innocent than it looked from my end, but if they’re like this with some few hundred quid monoprints, what’s it going to be like with all these crates of 6ft paintings that are worth a fortune? Not exactly reassuring to think of Heckel’s Horse in these people’s hands.
PUG: Welcome to the art world.
EJ: It might end up for the best. A lot of why I started doing Heckel’s Horse Jr. was to get the Heckel’s Horse story out the door. A lots been done already. Billy and I want to get Heckel’s Horse paintings in front of people. Billy‘s spoken about it in interviews that I’ve super-glue-referenced into the Billy Childish wikipedia page. L-13 have done a load of prints. Things are going pretty well. The less behind-the-scenes Heckel’s Horse is, the harder I guess it is for the truth to get fudged later. Especially if Billy and I aren’t around by the time anything happens.
PUG: You’ve always got Jompiy.
EJ: Yeah, my solid backup plan. I don’t need to worry about Jompiy getting nicked.
Read the full interview at https://edgeworth.blog/2024/04/27/me-a-doll-interview/
https://youtu.be/aWN2dAleE14
submitted by BlackIvoryPAAC to BlackIvory [link] [comments]
PUG: Jompiy are quite a lot like Damien Hirst’s spin paintings.
EJ: I liked his figurative paintings that Tate didn’t include any of, in that solo show that had virtually everything else he’d ever done. I think Tate will be showing Heckel’s Horse before long.
PUG: What makes you think that?
EJ: It would be poetic. Darth Vadar comes to his senses and everyone’s rescue. There’ll probably be some new maverick Director that comes along and wants to make an easy name for herself.
PUG: How about a Heckel’s Horse Jr. show there instead? I liked the Heckel’s Horse Jr. book.
EJ: Thanks. They’re currently available to all our Fan Club members on Tiers 2 and 3. If someone was interested in finding out more, all they’d have to do is simply visit https://blackivory.org/fan-club/
PUG: Is there anything planned for Heckel’s Horse?
EJ: As far as I can tell, it’s on the back burner till whoever’s in charge decides the time’s right for a show. Billy’s been trying to push things along for years, pretty much since we started doing them.
PUG: You need this new Tate Director.
EJ: We need someone to forcibly step in with the interest, clout and balls to act irrespective of any commercial consequence or fretting what the art world and its clientele think. Like some benevolent Stuckist ex-hedge fund manager who says “Let’s do a show because of all that stuff in the Stuckism manifesto.”
PUG: Like a hostile takeover. Might Heckel’s Horse Jr. being published speed things along for Heckel’s Horse?
EJ: Apparantly the opposite. It might put them off, but whatever. It shouldn’t be all beholden to any audience thing. There needs to be a punk movement in Contemporary Art. Like Black Ivory but slightly more influential. None of this prissy “We’re not allowed to do this, we’re not allowed to do that. The clients might not like this, the clients might not like that.” I don’t know anything about how the art world functions but there’s an obvious staleness and near-universal obedience to it. Then you get things like Stuckism or our semi-Stuckist-splinter-group Black Ivory that, like opt out of the audience as target idea. That are happy to be a disgrace. I think they asked the bass player from the Manics what it was like walking around dressed up in their band gear, round their local working-class mining village in skirts and makeup, and he says “We just wanted to be hated.” I like that about Stuckism and the seemingly repellent and toe-curling bridge-burning stuff we do. The term “target audience” is business talk for a reason. Target audiences are for things like Persil Automatic, not artists. Artists worrying about this stuff is just depressing and I guess is all counter-productive to what they’re after anyway.
PUG: How would it be counter-productive?
EJ: Because it’s like some saggy-headed donkey that’s given up. Part of the shuffling crowd, which is shame if your art isn’t. Not believing in yourself. That’s how it all looks to me anyway. When I see photos of Stuckists prancing around in clown costumes outside Tate it’s so appealing. They’re building walls between themselves and the people everyone else is so desperate to be approved by.
PUG: So can Black Ivory save Contemporary Art?
EJ: We’ll stack a load of six footer Heckel’s Horse Jr. paintings against the walls. A few in the front room with the sofas, tables and chairs and whatnot. I’ll be walking round with a full teapot. Invite some friends round and do it as Stuckism would do it. Leave the evidence on our YouTube channel as Van Goghian proof for future generations that today’s Contemporary Art wasn’t just the text book stuff.
PUG: Stuckism was quite punk influenced but the art world’s still largely what it was beforehand.
EJ: Stuckism bothered. Like leading a horse to water. It’s like even the anti-establishment are only considered successful when the establishment accept them. The Other Muswell Hill Stuckists should do a manifesto about it. Stuckism‘s not for our benefit, it’s for yours. Our “failures” are your problem. We’re waking up and painting either way. We don’t need the art world. We don’t need the Turner Prize to show us what a decent painting looks like. I’m only talking about it not shaking up the artworld obviously, not the work or anything important, but like we’ve both done loads of Stuckist Turner Prize demos, published a Stuckist Turner Prize manifesto, as far as I know, the Turner Prize is still going strong. So what? Did the demos fail? Are our paintings worse now? If nothing else, it’s nice to get out the house. I like the Turner Prize demos because it’s like getting bashed on both sides. By the establishment and the hipsters. Usually it’s like, choose a team: brand A or brand B and kid yourself there’s a difference. The establishment think they’re winning and the hipsters think they’re cool and anti-establishment. Stuckism chooses neither, which I see as the only real anti-establishment. Stuckism‘s failures, if anything, proove its success becuase punk succeeded in it’s non-musical objectives, it became chart music. No chance of Stuckism falling for that one. How’s that for a theory? Failure isn’t failure. Failure’s success because failure’s longevity and success is failure. Stuckism‘s a roaring failure.
PUG: A new punk Tate for Heckel’s Horse.
EJ: I did some assistant work for Jimmy Cauty years ago, on these glittery riot shields. I think around 2016. The tracksuit bottoms still have the gold glitter and PVA stuck to them. I can’t remember if I was talking about Heckel’s Horse or something else, but Billy and I couldn’t have done too many by then. It might have been something else, but I tell Jimmy we’ve done all this work and nothing’s getting published, and he says ‘So, when’s the bonfire?’ The man who burned a million pounds. Ten years later, he we are, same situation. Thankfully, as far as I’m aware, still no bonfire. So overall, things are going great for Heckel’s Horse. All the paintings are still probably in existence.
PUG: Just a lot more of them now.
EJ: I’ve got this image of Heckel’s Horse paintings being taken at night to some secret billionaires island off the South Kent coast and chucked on a blazing fire with a load of men in white suits standing round drinking champagne, each with a cigar between their teeth going ‘Ha! Ha! Fuck you Edgeworth!’
PUG: Then there’d just be the Heckel’s Horse Jr.’s left and you could sell them for millions.
EJ: You’re a genius.
PUG: All those paintings will end up in a show at some point.
EJ: It’s been eleven years. Could be another twenty, thirty. I had this paranoia, they’d pretend they were by Billy and cut my name out. If Billy and I aren’t around. Even if I’m still around, who’s going to listen to me?
PUG: Do you reckon?
EJ: I don’t even know who it was, but some lying fart-face decided it would be alright to pretend these monoprints Billy and I collaborated on would be better sold off as ‘by Billy Childish’ and not by both of us. So that’s what happened. Like a click of the fingers, “Bye bye Edgeworth.” Pretty unimpressive, I thought.
PUG: Didn’t you say anything?
EJ: No, what’s going to happen? Better to say nothing then moan about it ten years later. The way I see it, I’m not the one lying so it’s not my problem. Do you know what I mean? It shouldn’t be on me to object if they’re doing it on purpose.
PUG: So it’s not like Damien Hirst and his assistant’s painting butterflies.
EJ: No. It’s sort of, not wanting to flatter the people that erased my attribution with the idea they’re worth bothering with. Because it’s not like I was upset or felt hard done by. It was just disillusionment in one thing, addressed by the creation of another, Black Ivory Printmaking & Audio Club. If anything it’s a net positve. “So that’s the kind of people you really are. What a fantastic opportunity!”
Damien Hirst’s different. It’s all declared and everyone knows the deal. There’s nothing dodgy about it. It’s not like some slippery gallerist-type shifts the goalposts after the works done, like they’ve got some licence to change the truth. The buyers know what they’re buying, the artists know what they’re doing. These monoprints were a thick painterly transfer technique I came up with and haven’t seen anywhere else. Until I see any that look similar, as far as I’m concerned, it’s a type of monoprint of my invention. And they think they can just sign that away from me. If people see mine now, the ones I did independently using the same technique, they’ll probably think I copied it from Billy, which I think’s quite a liberty. “Taking Berty’s.” as we said at school.
PUG: Didn’t they ask you about it first?
EJ: No, I just get emailed after with some apparent excuse. If you’re some no-name pushover like me, I guess they think it’s alright. It might all have been a lot more innocent than it looked from my end, but if they’re like this with some few hundred quid monoprints, what’s it going to be like with all these crates of 6ft paintings that are worth a fortune? Not exactly reassuring to think of Heckel’s Horse in these people’s hands.
PUG: Welcome to the art world.
EJ: It might end up for the best. A lot of why I started doing Heckel’s Horse Jr. was to get the Heckel’s Horse story out the door. A lots been done already. Billy and I want to get Heckel’s Horse paintings in front of people. Billy‘s spoken about it in interviews that I’ve super-glue-referenced into the Billy Childish wikipedia page. L-13 have done a load of prints. Things are going pretty well. The less behind-the-scenes Heckel’s Horse is, the harder I guess it is for the truth to get fudged later. Especially if Billy and I aren’t around by the time anything happens.
PUG: You’ve always got Jompiy.
EJ: Yeah, my solid backup plan. I don’t need to worry about Jompiy getting nicked.
Read the full interview at https://edgeworth.blog/2024/04/27/me-a-doll-interview/
https://youtu.be/aWN2dAleE14
2024.05.17 09:16 aplhatronimachinery Exploring the Leading Multistage Pumps in Dubai: Spotlight on Alphatronic Machinery
Dubai, a bustling hub of commerce and industry, demands robust and efficient infrastructure to support its ever-growing needs. Among the critical components ensuring seamless operations in various sectors are multistage pumps. These sophisticated devices are essential for a multitude of applications, ranging from water supply and treatment to industrial processes and HVAC systems. In this competitive market, selecting the right supplier is paramount. One name that stands out in Dubai's multistage pump supply scene is Alphatronic Machinery. This blog delves into the top suppliers in the region, with a particular focus on Alphatronic Machinery, their offerings, and why they are a preferred choice for many businesses.
Understanding Multistage Pumps in Dubai
Before diving into the specifics of suppliers, it's essential to understand what multistage pumps are and why they are so vital. Multistage pumps are centrifugal pumps with multiple impellers (stages) arranged in series. This design allows them to generate higher pressures compared to single-stage pumps, making them ideal for applications requiring significant pressure, such as high-rise building water supply, boiler feedwater, and irrigation systems.
Key Attributes of Multistage Pumps in Dubai
Dubai hosts a variety of suppliers catering to different needs and industries. Here’s a look at some of the leading suppliers:
Alphatronic Machinery has established itself as a premier supplier of Multistage Pumps in Dubai. Renowned for their high-quality products and exceptional customer service, Alphatronic Machinery offers a wide range of solutions tailored to meet the specific needs of various industries.
**Products and Services**:
Alphatronic Machinery: A Closer Look
Product Range
Alphatronic Machinery's product portfolio is designed to cater to a wide array of applications. Some of their notable offerings include:
Whether you are looking for a reliable pump for a high-rise building, an industrial process, or an irrigation system, Alphatronic Machinery has the expertise and products to meet your needs. As Dubai continues to grow and evolve, partnering with a trusted supplier like Alphatronic Machinery ensures that your operations run smoothly and efficiently, now and in the future.
submitted by aplhatronimachinery to u/aplhatronimachinery [link] [comments]
Understanding Multistage Pumps in Dubai
Before diving into the specifics of suppliers, it's essential to understand what multistage pumps are and why they are so vital. Multistage pumps are centrifugal pumps with multiple impellers (stages) arranged in series. This design allows them to generate higher pressures compared to single-stage pumps, making them ideal for applications requiring significant pressure, such as high-rise building water supply, boiler feedwater, and irrigation systems.
Key Attributes of Multistage Pumps in Dubai
- **High Pressure Capability**: Multistage pumps can generate much higher pressures than single-stage pumps, making them suitable for demanding applications.
- **Efficiency**: Their design enables efficient energy use, which is critical in reducing operational costs.
- **Durability and Reliability**: These pumps are built to withstand harsh conditions, ensuring long-term reliability and minimal downtime.
Dubai hosts a variety of suppliers catering to different needs and industries. Here’s a look at some of the leading suppliers:
- Alphatronic Machinery
Alphatronic Machinery has established itself as a premier supplier of Multistage Pumps in Dubai. Renowned for their high-quality products and exceptional customer service, Alphatronic Machinery offers a wide range of solutions tailored to meet the specific needs of various industries.
**Products and Services**:
- **Comprehensive Range**: Alphatronic Machinery provides an extensive selection of multistage pumps, including both vertical and horizontal configurations. This variety ensures they can meet the diverse requirements of their clients.
- **Custom Solutions**: They offer customized pump solutions to cater to unique client specifications, ensuring optimal performance and efficiency.
- **After-Sales Support**: Alphatronic Machinery is known for its robust after-sales support, including maintenance services and readily available spare parts, which ensures the longevity and reliability of their products.
- **Expertise and Experience**: With years of experience in the industry, Alphatronic Machinery's team brings unparalleled expertise to every project.
- **Quality Assurance**: They adhere to stringent quality standards, ensuring that every pump delivered is reliable and efficient.
- **Customer-Centric Approach**: Alphatronic Machinery prioritizes customer satisfaction, offering personalized service and support.
2. **Grundfos**
Grundfos is a global leader in advanced pump solutions and a trendsetter in water technology. Their multistage pumps are known for their innovation and reliability.3. **KSB Middle East FZE**
KSB is another prominent name, offering a wide range of multistage pumps suitable for various applications. They emphasize high efficiency and durability in their products.4. **Wilo Middle East**
Wilo is renowned for its cutting-edge technology and high-quality multistage pumps. Their products are widely used in commercial buildings, industrial processes, and municipal water supply systems.Alphatronic Machinery: A Closer Look
Product Range
Alphatronic Machinery's product portfolio is designed to cater to a wide array of applications. Some of their notable offerings include:
- **Vertical Multistage Pumps**: Ideal for high-pressure applications, these pumps are compact and efficient, making them suitable for use in areas with limited space.
- **Horizontal Multistage Pumps**: Known for their robust construction and high efficiency, these pumps are perfect for industrial applications where space is not a constraint.
**Industries Served**
Alphatronic Machinery serves a diverse range of industries, including:- **Construction and Building Services**: Providing reliable water supply solutions for high-rise buildings and commercial complexes.
- **Industrial Applications**: Offering pumps for various industrial processes, ensuring smooth and efficient operations.
- **Agriculture and Irrigation**: Delivering high-pressure pumps that are essential for modern irrigation systems.
- **Water Treatment**: Supplying pumps that are critical for water purification and distribution systems.
The Alphatronic Advantage
What sets Alphatronic Machinery apart from other suppliers in Dubai? Here are some compelling reasons:**1. Technical Expertise**
Alphatronic Machinery boasts a team of highly skilled engineers and technicians who are experts in their field. Their deep understanding of pump technology and applications ensures that clients receive the best solutions tailored to their specific needs.**2. Innovative Solutions**
Innovation is at the heart of Alphatronic Machinery's operations. They continually invest in research and development to bring cutting-edge products to the market, ensuring their clients benefit from the latest advancements in pump technology.**3. Customer Support**
Exceptional customer support is a hallmark of Alphatronic Machinery. From the initial consultation to after-sales service, their team is dedicated to providing a seamless and supportive experience for their clients.**4. Quality Assurance**
Quality is non-negotiable at Alphatronic Machinery. They adhere to the highest standards of quality control, ensuring that every pump delivered is reliable, efficient, and durable.Conclusion
Choosing the right Multistage Pumps in Dubai is crucial for ensuring the efficiency and reliability of your operations. In Dubai, Alphatronic Machinery stands out as a leading supplier, offering a comprehensive range of high-quality multistage pumps and unparalleled customer support. Their commitment to innovation, quality, and customer satisfaction makes them a preferred choice for businesses across various industries.Whether you are looking for a reliable pump for a high-rise building, an industrial process, or an irrigation system, Alphatronic Machinery has the expertise and products to meet your needs. As Dubai continues to grow and evolve, partnering with a trusted supplier like Alphatronic Machinery ensures that your operations run smoothly and efficiently, now and in the future.
2024.05.17 09:04 obiviya52smith How to Set Up an LLC in Pennsylvania: Step-by-Step Guide by TRUIC
 | How to Set Up an LLC in Pennsylvania: Step-by-Step Guide by TRUIC submitted by obiviya52smith to u/obiviya52smith [link] [comments] Establishing a Limited Liability Company (LLC) varies across states, and Pennsylvania has its own specific process. New business owners can find the process confusing, but this comprehensive guide by TRUIC will remove the guesswork. Continue reading to find out how to create an LLC in Pennsylvania. Types of LLCs in Pennsylvania USAPennsylvania offers various LLC types to suit different business needs:Single-member LLC: Consists of one owner (member) who holds all ownership rights. Member-managed LLC: A multi-member LLC where all owners (members) have a say in decision-making and manage the business. Manager-managed LLC: A multi-member LLC where members appoint a manager to handle daily operations, suitable for larger LLCs. Restricted LLC: For professional services like medicine, dentistry, law, etc., requiring registration as a restricted professional company. Benefit LLC: Formed to create a general public benefit, impacting society and the environment positively. Domestic LLC: An LLC formed within Pennsylvania. 3 Steps to Setup LLC in Pennsylvania USASetting up an LLC in Pennsylvania involves filing several documents with the Department of State and can be done online or by mail.Step 1: Select a Distinct Name for Your LLC Ensure your chosen LLC name is unique by using Pennsylvania’s business entity search tool. If the name is available, but you're not ready to register, you can reserve it for 120 days. Naming Rules: Must include "company," "limited," "limited liability company," or their abbreviations. Must not include words like "corporation" or "incorporated." Step 2: Choose a CROP, or Registered Office You need to provide a physical address in Pennsylvania for your LLC, or enter into an agreement with a Commercial Registered Office Provider (CROP) to provide this address. Step 3: Put Your LLC Documents in Order Submit a Certificate of Organization and a docketing statement to the Pennsylvania Department of State. Veterans may apply for a fee waiver. For LLCs formed elsewhere, file a Foreign Registration Statement. Register an LLC online in Pennsylvania Filing online is efficient and straightforward. Visit the Pennsylvania Department of State's website to access the online filing portal, complete the necessary forms, and pay the filing fee. What does it take to start an LLC in PA?While it's challenging to avoid all costs, you can minimize expenses by handling the filing yourself and serving as your own registered agent. Utilize free resources for creating your operating agreement.Creating an LLC with Just One Member in Pennsylvania Similar steps apply to LLCs with many members. Single-member LLCs benefit from simplified management and flexible taxation, often being treated as a disregarded entity for tax purposes. Lets Find: Is PA a good state for an LLC?Advantages of a PA LLCLimited Liability Protection: Personal assets are protected from business liabilities. Tax Flexibility: Choose from various tax structures to optimize tax obligations. Simplified Compliance: Fewer formalities than corporations. Enhanced Credibility: Boosts business trust and legitimacy. How much does it cost to start an LLC in Pennsylvania: know morePrimary costs include the filing fee for the Certificate of Organization, registered agent fees (if applicable), and publication costs (if needed). Additional costs might include legal assistance for drafting documents.Processing Fee: $125State Filing Fee: $125, payable to Pennsylvania's Commonwealth; nonrefundableMailing Address: Pennsylvania Department of State Bureau of Corporations and Charitable Organizations P.O. Box 8722 Harrisburg, PA 17105 A Docketing Statement must be sent with your Certificate of Organization if you file it by mail. Check out our Pennsylvania Certificate of Organization tutorial for assistance in filling out the form. How Long Does It Take to Get an LLC in PA?Online Filing: Typically processed within 5-10 business days.Mail Filing: Can take several weeks due to processing times. Crucial Actions Following LLC FormationObtain an Employer Identification Number (EIN)necessary if your LLC employs a large number of people. Get a free EIN from the IRS website. Create an Operating Contract While not required, an operating agreement is crucial for outlining management structure, ownership, and operational procedures, helping to prevent disputes. Keep Your Personal and Business Assets Apart Open a business bank account and keep business transactions separate from personal ones to maintain liability protection. Submit Your Decennial Report Pennsylvania requires a decennial report every 10 years to update business information. The next filing period is in 2031. Also Evaluate LLCs in Florida, California, and New York USALLC in New YorkIncludes filing fees, a publication requirement, and biennial statements. The publication requirement can be costly due to the need to publish in newspapers For all information go and visit LLC in New York. LLC in California Involves filing fees and an annual franchise tax. Requires biennial Statement of Information filings but no publication requirement and Visit for further details click to LLC in California. LLC in Florida Requires filing Articles of Organization with a filing fee. No publication requirement and straightforward annual report filings. For more comprehensive details, please visit LLC in Florida. ConclusionSetting up an LLC in Pennsylvania is a strategic move for many entrepreneurs. Follow this step-by-step guide by TRUIC to navigate the process confidently. Whether forming a single-member or multi-member LLC, Pennsylvania provides a supportive business environment.Ready to form your LLC? Visit TRUIC for user-friendly resources and start your LLC formation journey today. Together, let's make your company's vision a reality. |
2024.05.17 08:59 TerribleSell2997 Ballistic Protection Market Increasing Demand, Growth Analysis and Future Outlook by 2031
~Ballistic protection market~ is anticipated to grow at a CAGR of 5.9% during the forecast period (2024-2031). Ballistic protection is designed to protect personnel, vehicles and structures from fragments caused by explosions, and projectiles such as bullets, and can also help mitigate the effects of blast energy from the explosions.
Get Free Sample link @ https://www.omrglobal.com/request-sample/ballistic-protection-market
The geopolitical instability across the globe fuels the demand for ballistic protection. Ballistic protection solutions are required for a variety of threats, such as terrorist attacks in public places that demand the protection of civilians and first responders and protests that demand police enforcement wear protective gear.For instance, in February 2024, UNDP and the US Government announce to equip more police inspectorates in Moldova with modern tools (such as bullet-proof vests, ballistic helmets) including for investigating cybercrime. Additionally, border conflicts and international disputes equip soldiers with body armor and armored vehicles. Forinstance in February 2022 Government of Canada sent $25 million shipment to Ukraine of non-lethal equipment which includes bulletproof jackets and helmets.
full report of Ballistic Protection Market available @ https://www.omrglobal.com/industry-reports/ballistic-protection-market
· Market Coverage
· Market number available for – 2024-2031
· Base year- 2024
· Forecast period- 2024-2031
· Segment Covered- By Source, By Product Type, By Applications
· Competitive Landscape- Archer Daniels Midland Co., Ingredion Inc., Kerry Group Plc, Cargill
· Inc., and others
Market Segmentation
Ballistic Protection Market by Product Type
o Personal Protection Equipment
o Vehicle Protection Equipment
Ballistic Protection Market by Material Type
o Bulletproof Glass
o Metal Alloys
o Fabric
o Others (ceramics, composites)
Ballistic Protection Market byTechnology Type
o Soft Armor
o Hard Armor
Ballistic Protection Market byApplication
o Military
o Airborne
o Marine
o Law Enforcement agencies
o Others (Commercial)
Regional Analysis
o North America
o United States
o Canada
o Europe
o UK
o Germany
o Italy
o Spain
o France
o Rest of Europe
o Asia-Pacific
o China
o India
o Japan
o South Korea
o Rest of Asia-Pacific
o Rest of the World
Company Profiles
o ARMORSOURCE, LLC.
o Avon Protection
o Craig International Ballistics Pty Ltd
o EnGarde body armor
o GENTEX CORPORATION
o Hellweg International
o Mehler Protection
o MKU Ltd.
o Morgan Advanced Materials plc
o Paul Boyé Technologies
o Point Blank Enterprises, Inc. (PBE)
o SAFE LIFE DEFENSE
o Seyntex
o Tactical Assault Gear
o Verseidag-Indutex GmbH
The Report Covers
About Orion Market Research Orion Market Research (OMR) is a market research and consulting company known for its crisp and concise reports. The company is equipped with an experienced team of analysts and consultants. OMR offers quality syndicated research reports, customized research reports, consulting and other research-based services. The company also offer Digital Marketing services through its subsidiary OMR Digital and Software development and Consulting Services through another subsidiary Encanto Technologies.
Media Contact:
Company Name: Orion Market Research
Contact Person: Mr. Anurag Tiwari
Email: [info@omrglobal.com](mailto:info@omrglobal.com)
Contact no: +91 780-304-0404
submitted by TerribleSell2997 to Nim2908 [link] [comments]
Get Free Sample link @ https://www.omrglobal.com/request-sample/ballistic-protection-market
The geopolitical instability across the globe fuels the demand for ballistic protection. Ballistic protection solutions are required for a variety of threats, such as terrorist attacks in public places that demand the protection of civilians and first responders and protests that demand police enforcement wear protective gear.For instance, in February 2024, UNDP and the US Government announce to equip more police inspectorates in Moldova with modern tools (such as bullet-proof vests, ballistic helmets) including for investigating cybercrime. Additionally, border conflicts and international disputes equip soldiers with body armor and armored vehicles. Forinstance in February 2022 Government of Canada sent $25 million shipment to Ukraine of non-lethal equipment which includes bulletproof jackets and helmets.
full report of Ballistic Protection Market available @ https://www.omrglobal.com/industry-reports/ballistic-protection-market
· Market Coverage
· Market number available for – 2024-2031
· Base year- 2024
· Forecast period- 2024-2031
· Segment Covered- By Source, By Product Type, By Applications
· Competitive Landscape- Archer Daniels Midland Co., Ingredion Inc., Kerry Group Plc, Cargill
· Inc., and others
Market Segmentation
Ballistic Protection Market by Product Type
o Personal Protection Equipment
o Vehicle Protection Equipment
Ballistic Protection Market by Material Type
o Bulletproof Glass
o Metal Alloys
o Fabric
o Others (ceramics, composites)
Ballistic Protection Market byTechnology Type
o Soft Armor
o Hard Armor
Ballistic Protection Market byApplication
o Military
o Airborne
o Marine
o Law Enforcement agencies
o Others (Commercial)
Regional Analysis
o North America
o United States
o Canada
o Europe
o UK
o Germany
o Italy
o Spain
o France
o Rest of Europe
o Asia-Pacific
o China
o India
o Japan
o South Korea
o Rest of Asia-Pacific
o Rest of the World
Company Profiles
o ARMORSOURCE, LLC.
o Avon Protection
o Craig International Ballistics Pty Ltd
o EnGarde body armor
o GENTEX CORPORATION
o Hellweg International
o Mehler Protection
o MKU Ltd.
o Morgan Advanced Materials plc
o Paul Boyé Technologies
o Point Blank Enterprises, Inc. (PBE)
o SAFE LIFE DEFENSE
o Seyntex
o Tactical Assault Gear
o Verseidag-Indutex GmbH
The Report Covers
- Market value data analysis of 2023and forecast to 2031.
- Annualized market revenues ($ million) for each market segment.
- Country-wise analysis of major geographical regions.
- Key companies operating in the global ballistic protection marketmarket. Based on the availability of data, information related to new product launches, and relevant news is also available in the report.
- Analysis of business strategies by identifying the key market segments positioned for strong growth in the future.
- Analysis of market-entry and market expansion strategies.
- Competitive strategies by identifying ‘who-stands-where’ in the market.
About Orion Market Research Orion Market Research (OMR) is a market research and consulting company known for its crisp and concise reports. The company is equipped with an experienced team of analysts and consultants. OMR offers quality syndicated research reports, customized research reports, consulting and other research-based services. The company also offer Digital Marketing services through its subsidiary OMR Digital and Software development and Consulting Services through another subsidiary Encanto Technologies.
Media Contact:
Company Name: Orion Market Research
Contact Person: Mr. Anurag Tiwari
Email: [info@omrglobal.com](mailto:info@omrglobal.com)
Contact no: +91 780-304-0404
2024.05.17 08:57 Greene_Mr Question about differences in animation/mocap/quality of VFX/performance for "She-Hulk: Attorney at Law"?
For a little background: I'm not a VFX person, but I do know a bit about the insane process regarding clients and vendors and... all that. My heart goes out to every single artist in that pipeline who has to deal with seemingly arbitrary changes only for the work to get torn apart by people who don't understand it when it comes out.
So, for professionals who know the tools, who probably have some idea of what goes on behind-the-scenes in the shows, can probably, even if they didn't directly work on the show, hazard a guess as to reasons for things (and whom DEFINITELY have more of an ability to see those things than I could) -- I have a couple of questions concerning the Marvel series She-Hulk: Attorney at Law, from 2022.
I know they used something like four different vendors to bring to life the She-Hulk character assets; even before the VFX breakdowns were posted online, somebody in the know pointed out to me which ones Weta did, for example. I know the methods of motion/performance capture for the character differed between inertial and (I can't remember the other one's name, please forgive me), sometimes between sequence to sequence, whether exterior or interior. I know they had a stand-in whose work, despite what was said in the press, was apparently deemed unusable by the actual animators as reference once it got to that point, and I know at least one VFX source complained the main show director wasn't listening to the on-set VFX supe in how best to create an effect, etc.; said VFX supe won an Oscar for Dune.
Having said those things, the quality is remarkably high, although the most criticised VFX work was done by Digital Domain and TRIXTR on the show -- the Weta sequences (despite my source telling me they were brought on to one sequence almost at the last minute as added work) were generally the highest-quality, had the best facial animation capture, skin texture, etc. (From what I could see, Digital Domain's best sequence was the one in the retreat episode.) I know assets were shared -- I also know DD had a harder time trying to keep up with the main actress's performance than Weta did, as it's a bit more complex than their previous gold-stand of Josh Brolin's Thanos.
Would big differences be down to clients jerking vendors around to an extent that one sequence by one vendor doesn' match another vendor's, or is it down to the tech used? Do you feel actors in mocap are generally as informed as they should be about how best to perform in motion/performance-capture settings? And, this seems to be a common thing, why shave down the motions and energy of a mocap actor's performance in post, when they could just as easily tell the actor to dial it down before filming and thus not have to adjust movements so much even as opposed to the size of the assets they're being transferred to?
Is there something that could be done to make the process a bit smoother? (Yes, pre-planning is a no-brainer.) Do VFX supes need more control over their sets on shows, in order to keep down costs and raise the standard of excellence? Do actors need to be told a bit more on how animators actually modify their performances, and how they can best work with that knowledge?
I know it's a lot all tumbling out, but it's just a bunch of questions and thoughts that have been on my mind. I felt only a bunch of experts in the art could inform me of any possible answers. :-) I'm just gonna listen to y'all with open ears.
submitted by Greene_Mr to vfx [link] [comments]
So, for professionals who know the tools, who probably have some idea of what goes on behind-the-scenes in the shows, can probably, even if they didn't directly work on the show, hazard a guess as to reasons for things (and whom DEFINITELY have more of an ability to see those things than I could) -- I have a couple of questions concerning the Marvel series She-Hulk: Attorney at Law, from 2022.
I know they used something like four different vendors to bring to life the She-Hulk character assets; even before the VFX breakdowns were posted online, somebody in the know pointed out to me which ones Weta did, for example. I know the methods of motion/performance capture for the character differed between inertial and (I can't remember the other one's name, please forgive me), sometimes between sequence to sequence, whether exterior or interior. I know they had a stand-in whose work, despite what was said in the press, was apparently deemed unusable by the actual animators as reference once it got to that point, and I know at least one VFX source complained the main show director wasn't listening to the on-set VFX supe in how best to create an effect, etc.; said VFX supe won an Oscar for Dune.
Having said those things, the quality is remarkably high, although the most criticised VFX work was done by Digital Domain and TRIXTR on the show -- the Weta sequences (despite my source telling me they were brought on to one sequence almost at the last minute as added work) were generally the highest-quality, had the best facial animation capture, skin texture, etc. (From what I could see, Digital Domain's best sequence was the one in the retreat episode.) I know assets were shared -- I also know DD had a harder time trying to keep up with the main actress's performance than Weta did, as it's a bit more complex than their previous gold-stand of Josh Brolin's Thanos.
Would big differences be down to clients jerking vendors around to an extent that one sequence by one vendor doesn' match another vendor's, or is it down to the tech used? Do you feel actors in mocap are generally as informed as they should be about how best to perform in motion/performance-capture settings? And, this seems to be a common thing, why shave down the motions and energy of a mocap actor's performance in post, when they could just as easily tell the actor to dial it down before filming and thus not have to adjust movements so much even as opposed to the size of the assets they're being transferred to?
Is there something that could be done to make the process a bit smoother? (Yes, pre-planning is a no-brainer.) Do VFX supes need more control over their sets on shows, in order to keep down costs and raise the standard of excellence? Do actors need to be told a bit more on how animators actually modify their performances, and how they can best work with that knowledge?
I know it's a lot all tumbling out, but it's just a bunch of questions and thoughts that have been on my mind. I felt only a bunch of experts in the art could inform me of any possible answers. :-) I'm just gonna listen to y'all with open ears.
2024.05.17 08:57 TerribleSell2997 Digital Oilfield Market Increasing Demand, Growth Analysis and Future Outlook by 2031
~Digital oilfield market~ is anticipated to grow at a significant CAGR of 13.3% during the forecast period (2024-2031).The growth of the digital oilfield market is attributed to the increasing adoption of real-time data from oilfield operations, digital collaboration, and integration of IoT globally. By integrating modern digital technology with innovative workflows, the digital oilfield can avoid unplanned equipment and well shutdowns while increasing production and cutting operating expenses.
Get Free Sample link @ https://www.omrglobal.com/request-sample/digital-oilfield-market
The increasing utilization of digital oilfields for remote monitoring, drilling, smart well sites, pipelines, and transportation operations enhancement. Oil companies effectively handle an increasing number of commercial and technical challenges to improve reservoirs, production, drilling operations, safety assurance, asset management, and maintenance. By capturing more data more frequently from every point of the oil and gas value chain and analyzing it almost instantly, digital technologies for remote monitoring and control of oil fields enable businesses to optimize the operation of their reservoirs, wells, and facilities. The extremely dependable data feeds, improved operating efficiency, asset visibility, safety, and environmental protection.
full report of Digital Oilfield Market available @ https://www.omrglobal.com/industry-reports/digital-oilfield-market
· Market Coverage
· Market number available for – 2024-2031
· Base year- 2023
· Forecast period- 2024-2031
· Segment Covered- By Source, By Product Type, By Applications
· Competitive Landscape- Archer Daniels Midland Co., Ingredion Inc., Kerry Group Plc, Cargill
· Inc., and others
Market Segmentation
Global Digital Oilfield Market by Process
o Production Optimization
o Drilling Optimization
o Reservoir Optimization
o Safety management
o Asset management
Global Digital Oilfield Market by Solution
o Hardware Solutions
o Software & Service Solutions
o Data Storage Solutions
Global Digital Oilfield Market by Application
o Onshore
o Offshore
Regional Analysis
o North America
o United States
o Canada
o Europe
o UK
o Germany
o Italy
o Spain
o France
o Rest of Europe
o Asia-Pacific
o China
o India
o Japan
o South Korea
o Rest of Asia-Pacific
o Rest of the World
o Latin America
o Middle East & Africa
Company Profiles
o ABB Ltd.
o Accenture plc
o ChampionX Corp.
o Emerson Electric Co.
o General Electric Company
o Halliburton Energy Services, Inc.
o Honeywell International Inc.
o IBM Corp.
o Infosys Ltd.
o Intel Corp.
o L&T Technology Services Ltd.
o Microsoft Corp.
o NOV Inc.
o OleumTech
o Perficient Inc,
o Rockwell Automation Inc.
o Schlumberger Ltd.
o Weatherford International plc
The Report Covers
About Orion Market Research Orion Market Research (OMR) is a market research and consulting company known for its crisp and concise reports. The company is equipped with an experienced team of analysts and consultants. OMR offers quality syndicated research reports, customized research reports, consulting and other research-based services. The company also offer Digital Marketing services through its subsidiary OMR Digital and Software development and Consulting Services through another subsidiary Encanto Technologies.
Media Contact:
Company Name: Orion Market Research
Contact Person: Mr. Anurag Tiwari
Email: [info@omrglobal.com](mailto:info@omrglobal.com)
Contact no: +91 780-304-0404
submitted by TerribleSell2997 to Nim2908 [link] [comments]
Get Free Sample link @ https://www.omrglobal.com/request-sample/digital-oilfield-market
The increasing utilization of digital oilfields for remote monitoring, drilling, smart well sites, pipelines, and transportation operations enhancement. Oil companies effectively handle an increasing number of commercial and technical challenges to improve reservoirs, production, drilling operations, safety assurance, asset management, and maintenance. By capturing more data more frequently from every point of the oil and gas value chain and analyzing it almost instantly, digital technologies for remote monitoring and control of oil fields enable businesses to optimize the operation of their reservoirs, wells, and facilities. The extremely dependable data feeds, improved operating efficiency, asset visibility, safety, and environmental protection.
full report of Digital Oilfield Market available @ https://www.omrglobal.com/industry-reports/digital-oilfield-market
· Market Coverage
· Market number available for – 2024-2031
· Base year- 2023
· Forecast period- 2024-2031
· Segment Covered- By Source, By Product Type, By Applications
· Competitive Landscape- Archer Daniels Midland Co., Ingredion Inc., Kerry Group Plc, Cargill
· Inc., and others
Market Segmentation
Global Digital Oilfield Market by Process
o Production Optimization
o Drilling Optimization
o Reservoir Optimization
o Safety management
o Asset management
Global Digital Oilfield Market by Solution
o Hardware Solutions
o Software & Service Solutions
o Data Storage Solutions
Global Digital Oilfield Market by Application
o Onshore
o Offshore
Regional Analysis
o North America
o United States
o Canada
o Europe
o UK
o Germany
o Italy
o Spain
o France
o Rest of Europe
o Asia-Pacific
o China
o India
o Japan
o South Korea
o Rest of Asia-Pacific
o Rest of the World
o Latin America
o Middle East & Africa
Company Profiles
o ABB Ltd.
o Accenture plc
o ChampionX Corp.
o Emerson Electric Co.
o General Electric Company
o Halliburton Energy Services, Inc.
o Honeywell International Inc.
o IBM Corp.
o Infosys Ltd.
o Intel Corp.
o L&T Technology Services Ltd.
o Microsoft Corp.
o NOV Inc.
o OleumTech
o Perficient Inc,
o Rockwell Automation Inc.
o Schlumberger Ltd.
o Weatherford International plc
The Report Covers
- Market value data analysis of 2023 and forecast to 2031.
- Annualized market revenues ($ million) for each market segment.
- Country-wise analysis of major geographical regions.
- Key companies operating in the global digital oilfield market. Based on the availability of data, information related to new product launches, and relevant news is also available in the report.
- Analysis of business strategies by identifying the key market segments positioned for strong growth in the future.
- Analysis of market-entry and market expansion strategies.
- Competitive strategies by identifying ‘who-stands-where’ in the market.
About Orion Market Research Orion Market Research (OMR) is a market research and consulting company known for its crisp and concise reports. The company is equipped with an experienced team of analysts and consultants. OMR offers quality syndicated research reports, customized research reports, consulting and other research-based services. The company also offer Digital Marketing services through its subsidiary OMR Digital and Software development and Consulting Services through another subsidiary Encanto Technologies.
Media Contact:
Company Name: Orion Market Research
Contact Person: Mr. Anurag Tiwari
Email: [info@omrglobal.com](mailto:info@omrglobal.com)
Contact no: +91 780-304-0404
2024.05.17 08:55 GamingHearts1 Is Mickey Mouse Still a Video Game Attraction?
 | https://preview.redd.it/0cozfkokpx0d1.jpg?width=1600&format=pjpg&auto=webp&s=8ba11093d5e5eac636d559bca86c041c7c60195b submitted by GamingHearts1 to u/GamingHearts1 [link] [comments] Mickey Mouse is one of the biggest names in television history as it relates to cartoons or animated media in general. Mickey Mouse has been around since the 1930’s and is the first thing that many people around the world instantly think about when it comes down to Disney. It seems like Mickey Mouse was more popular during the 20th century especially around the 1950’s opposed to the 21st century mainly because he was considered a fresh creation 70 years ago opposed to now. Also, when it came down to video games it seems like Mickey Mouse has more popular during the 90’s with games such as: Castle of Illusion and the Disney’s Magical Quest series from ’92-’95. During the 2000’s Mickey Mouse had seemingly become irrelevant mainly because casuals mainly teenagers and adults had were more interested in adult-themed video games within action-adventure or first-person shooter genre of gaming. However, despite his declining popularity Mickey Mouse stayed somewhat relevant in the video game scene during 2000’s by appearing in the Kingdom Hearts series. By the time the 2010’s decade came around Mickey Mouse still remained irrelevant for the most part maybe with the exception of Epic Mickey title. While Epic Mickey was somewhat underrated Epic Mickey 2: The Power of Two from 2010 ended up being a commercial failure. Disney Illusion Island which came out back in July 2023 ended up being a solid platform game which was unfortunately overshadowed by so many high profile video game releases from that year. Mickey Mouse is obviously recognized by just about anyone and everyone who is familiar with gaming or television but he is clearly not as popular as he once was. The landscape of gaming has changed drastically since the 90’s when 2D platformers dominated scene and unfortunately Mickey Mouse could not compete with the likes of Super Mario or Sonic the Hedgehog in terms of popularity. |
2024.05.17 08:52 GamingHearts1 Should Ubisoft Release An “M” Rated Rayman Game?
 | https://preview.redd.it/rp14ym7yox0d1.jpg?width=1280&format=pjpg&auto=webp&s=d0ecf593f7d0091769c9b4ad76a08ffa7c7fe04a submitted by GamingHearts1 to u/GamingHearts1 [link] [comments] The Rayman series has been around since the mid 90’s and is considered to be one of the most iconic names in video game history. The last main installment that we got to see in the Rayman series was the Legends game that came out during Summer 2013. Rayman Legends was actually one of the most successful installments within its own series reaching over 4.4 million copies in sales across multiple platforms during 2010’s. Despite, the success of Rayman Legends Ubisoft has not released a major installment for Rayman in over a decade. Generally, pretty much all of Rayman games have been E “rated” mainly because the character was originally designed to appeal to children along with a casual audience. Rayman has seeming been irrelevant for the past several years until he appeared in the Captain Laserhawk: A Blood Dragon Remix anime on Netflix. When Rayman appeared in the Captain Laserhawk anime we saw a different side his character after he brutally murdered every member of Eden after discovering their dark motives and actions towards his species. https://preview.redd.it/uqaf4h12px0d1.png?width=1971&format=png&auto=webp&s=f986e1cb7594e95e19509c4b54b73caf22a4adef In fact, after the Captain Laserhawk was released Rayman was trending on social media platforms like Twitter because his portrayal within the show was something that came off as unexpected. The shock value that Rayman brought to the Captain Laserhawk anime had many people wondering whether or not Ubisoft could pull of a more adult themed video game with him in the future. If Rayman had the right storyline, dialogue and voice actor Ubisoft could possibly create a badass third person platform shooter game with him. The platform genre is not quite as popular as it once was and obviously its something that may have played a role in Ubisoft not making more Rayman games within the past decade. During the 2010’s Ubisoft has turned more attention to other gaming franchises that generates more revenue including Far Cry and Assassin’s Creed; which might be another big reason why we have not seen another major Rayman game in over a decade. |
2024.05.17 08:37 Internal_River_5423 How to Select the Ideal Digital Marketing Keyword for Your SEO Strategy
Choosing the right keyword in digital marketing is the foundation of an effective SEO strategy. It’s like picking the right path in a maze; the wrong choice can lead you nowhere, but the right one can bring you directly to your thing. Then’s a comprehensive companion to help you select the right keywords to boost your hunt machine rankings and attract the right followership.
Understanding Keywords
Keywords are the terms and expressions that people classify into hunt machines when looking for information, products, or services. These keywords are your gateway to understanding your followership’s intent and how they’re searching for what you offer. opting for the right keywords can increase your website’s visibility, drive targeted business, and eventually lead to advanced transformations.
The first step in keyword selection is understanding your followership. Who are they? What are their requirements, preferences, and problems? Understanding your followership helps you prognosticate what keywords they might use when searching for your content.
Produce buyer Personas
Develop detailed buyer personas that outline your ideal guest's demographics, interests, and actions. This will give you a clearer picture of what they might be searching for online.
2. Communicate and produce a List of Applicable Topics
Launch by brainstorming a list of motifs related to your business. These themes will form the basis for your keyword investigation. suppose about what your target followership might be interested in and what questions they might have.
Use Tools and coffers
Use tools like Google Trends, assiduity forums, and social media to identify trending motifs and common questions in your niche.
3. Use Keyword Research Tools
Keyword exploration tools can give precious data on hunt volume, competition, and related keywords. Some popular tools include —
When choosing keywords, it’s pivotal to examine their criteria to ensure they align with your pretensions. Then are some crucial criteria to consider:
Search Volume
Hunt volume indicates how frequently a keyword is searched for. High hunt volume keywords can bring further business, but they frequently come with advanced competition.
Keyword Difficulty
Keyword difficulty measures how hard it is to rank for a particular keyword. Balancing between high hunt volume and low difficulty is essential for effective keyword selection.
Cost Per Click( CPC)
CPC indicates the value of a keyword in paid hunt campaigns. High CPC keywords can indicate high marketable intent, meaning users are more likely to convert.
Trends
Explore the trend of a keyword over time to see if its fashionability is increasing or dwindling. Google Trends can help with this analysis.
5. Consider Long- Tail Keywords
Long-tail keywords are longer, more specific expressions that users might search for. While they generally have lower hunt volumes, they can attract further targeted business and frequently have lower competition.
Examples of Long- Tail Keywords
Understanding what keywords your challengers are targeting can give precious perceptivity. Tools like SEMrush and Ahrefs allow you to study your challengers ’ keywords and identify gaps or openings.
User intent is the reason behind a hunt query. Understanding the intent can help you choose keywords that match what users are looking for. There are four main types of stoner intent:
1. Instructional Intent
Users are looking for information. Example:” How to choose handling shoes.”
2. Navigational Intent
Users are trying to find a specific website or runner. Example:” Nike-sanctioned website.”
3. Transactional Intent
Users are looking to make a purchase. illustration” buy handling shoes online.”
4. Commercial Investigation
Users are probing products or services before making a decision. Example” stylish handling shoes 2024 reviews.”
8. Use Keywords Strategically
Once you have named your keywords, use them strategically in your content. Here are some tips:
On-page SEO —
SEO is an ongoing process. Regularly cover your keyword performance and acclimate your strategy as demanded. Tools like Google Analytics and Google Search Console can help track your rankings and organic business.
Conclusion
Choosing the right keywords is a critical component of any successful SEO strategy. By understanding your audience, using keyword research tools, analyzing metrics, and considering user intent, you can select keywords that drive targeted traffic and improve your search engine rankings. Remember, SEO is an ongoing process, so continually monitor your performance and adjust your strategy as needed to stay ahead of the competition.
submitted by Internal_River_5423 to u/Internal_River_5423 [link] [comments]
Understanding Keywords
Keywords are the terms and expressions that people classify into hunt machines when looking for information, products, or services. These keywords are your gateway to understanding your followership’s intent and how they’re searching for what you offer. opting for the right keywords can increase your website’s visibility, drive targeted business, and eventually lead to advanced transformations.
Steps to Choose the Right Keyword
1. Know Your followershipThe first step in keyword selection is understanding your followership. Who are they? What are their requirements, preferences, and problems? Understanding your followership helps you prognosticate what keywords they might use when searching for your content.
Produce buyer Personas
Develop detailed buyer personas that outline your ideal guest's demographics, interests, and actions. This will give you a clearer picture of what they might be searching for online.
2. Communicate and produce a List of Applicable Topics
Launch by brainstorming a list of motifs related to your business. These themes will form the basis for your keyword investigation. suppose about what your target followership might be interested in and what questions they might have.
Use Tools and coffers
Use tools like Google Trends, assiduity forums, and social media to identify trending motifs and common questions in your niche.
3. Use Keyword Research Tools
Keyword exploration tools can give precious data on hunt volume, competition, and related keywords. Some popular tools include —
- Google Keyword Planner- Offers perceptivity into keyword hunt volumes and vaticinations.
- SEMrush- Provides detailed keyword analysis, including competition and trends.
- Ahrefs- Offers a comprehensive keyword discoverer tool with in-depth criteria .
- Moz Keyword Explorer- Great for discovering and prioritizing stylish keywords.
When choosing keywords, it’s pivotal to examine their criteria to ensure they align with your pretensions. Then are some crucial criteria to consider:
Search Volume
Hunt volume indicates how frequently a keyword is searched for. High hunt volume keywords can bring further business, but they frequently come with advanced competition.
Keyword Difficulty
Keyword difficulty measures how hard it is to rank for a particular keyword. Balancing between high hunt volume and low difficulty is essential for effective keyword selection.
Cost Per Click( CPC)
CPC indicates the value of a keyword in paid hunt campaigns. High CPC keywords can indicate high marketable intent, meaning users are more likely to convert.
Trends
Explore the trend of a keyword over time to see if its fashionability is increasing or dwindling. Google Trends can help with this analysis.
5. Consider Long- Tail Keywords
Long-tail keywords are longer, more specific expressions that users might search for. While they generally have lower hunt volumes, they can attract further targeted business and frequently have lower competition.
Examples of Long- Tail Keywords
- Instead of” shoes,” use” stylish handling shoes for women with flat bases.”
- Instead of” SEO tips,” use” SEO tips for small businesses in 2024.”
Understanding what keywords your challengers are targeting can give precious perceptivity. Tools like SEMrush and Ahrefs allow you to study your challengers ’ keywords and identify gaps or openings.
Contender Analysis Steps
- Identify your top challengers.
- Use keyword exploration tools to resolve their top-performing keywords.
- Identify keywords they’re ranking for that you’re not.
- Look for keyword gaps or under-served motifs in their strategy.
User intent is the reason behind a hunt query. Understanding the intent can help you choose keywords that match what users are looking for. There are four main types of stoner intent:
1. Instructional Intent
Users are looking for information. Example:” How to choose handling shoes.”
2. Navigational Intent
Users are trying to find a specific website or runner. Example:” Nike-sanctioned website.”
3. Transactional Intent
Users are looking to make a purchase. illustration” buy handling shoes online.”
4. Commercial Investigation
Users are probing products or services before making a decision. Example” stylish handling shoes 2024 reviews.”
8. Use Keywords Strategically
Once you have named your keywords, use them strategically in your content. Here are some tips:
On-page SEO —
- Include keywords in the title label, meta description, heads, and throughout the content.
- Ensure keywords fit naturally within the content to maintain readability.
- Produce high-quality, precious content that addresses the requirements and questions of your followership.
- Use variations and antonyms of your keywords to avoid keyword filling.
SEO is an ongoing process. Regularly cover your keyword performance and acclimate your strategy as demanded. Tools like Google Analytics and Google Search Console can help track your rankings and organic business.
Conclusion
Choosing the right keywords is a critical component of any successful SEO strategy. By understanding your audience, using keyword research tools, analyzing metrics, and considering user intent, you can select keywords that drive targeted traffic and improve your search engine rankings. Remember, SEO is an ongoing process, so continually monitor your performance and adjust your strategy as needed to stay ahead of the competition.
2024.05.17 07:42 kata_mari_onreddit I think Seth Jacobs nearly beat a woman to death when he was 15. (allegedly)
To start, let's talk about the Jacobs family, specifically Jeremy Jacobs.
He's one of the richest people in Western New York, former owner of the Boston Bruins, and current chairman of the University at Buffalo Council (wikipedia article).
On March 20, 1980, in a Jacobs family mansion on Nottingham Terrace, Jeremy’s fifteen-year-old nephew Seth (son of his brother Max) allegedly nearly beat to death Mary Kate O’Connell (sister of Buffalo TV newscaster Kevin). It was an unusual case:
The Jacobs clan got lawyered up and counter-sued O’Connell. The excellent Jacobs family lawyers got him off, leading to the judgment that she was nearly beaten to death inside the Jacobs home by a person or persons unknown. So, racketeering without a racketeer, bludgeoning without a bludgeoner. See “O’Connell v. Jacobs” (1992). The Jacobs family then proceeded to sue Ms. O’Connell into bankruptcy.
Here's an article from 2020 about Seth Jacobs. Let's look at everything that matches.
Date of Birth
Actor + Son of Actor
Education
Middle Name
This dissertation asserts that our Seth Jacob's middle name is Stephen. According to official court documents:
Maybe: Physical Appearance
This one is more of a maybe, but take a look at Max Jacobs and then compare him to our Seth Jacobs.
Picture from Buffalo News
A shitty pic but it gets the point across
submitted by kata_mari_onreddit to bostoncollege [link] [comments]
He's one of the richest people in Western New York, former owner of the Boston Bruins, and current chairman of the University at Buffalo Council (wikipedia article).
On March 20, 1980, in a Jacobs family mansion on Nottingham Terrace, Jeremy’s fifteen-year-old nephew Seth (son of his brother Max) allegedly nearly beat to death Mary Kate O’Connell (sister of Buffalo TV newscaster Kevin). It was an unusual case:
From the beginning of the O’Connell case, which began at 7:30 on the morning of March 20, 1980, when Ms. O’Connell called for help, her assault was handled differently from the thousands of other beatings each year in the city. Eight hours elapsed after Ms. O’Connell’s injuries were discovered before the Buffalo Police Department was allowed inside the Jacobs home to investigate and secure any evidence. . . . Seth Jacobs, now 25, an actor and a graduate of Yale University, told Ms. O’Connell’s attorneys during his deposition that he has trouble believing that people consider him a suspect in the beating. When his father first told him that police thought he had beat Ms. O’Connell, he said: “I was understandably stunned, very dismayed, and I wondered what to do.” He said he let his father’s attorneys handle it. And he told his mother, “I couldn’t believe that people actually believed that I could do such a thing.” (source)
The Jacobs clan got lawyered up and counter-sued O’Connell. The excellent Jacobs family lawyers got him off, leading to the judgment that she was nearly beaten to death inside the Jacobs home by a person or persons unknown. So, racketeering without a racketeer, bludgeoning without a bludgeoner. See “O’Connell v. Jacobs” (1992). The Jacobs family then proceeded to sue Ms. O’Connell into bankruptcy.
But what happened to Seth Jacobs?
Well, we all know the Seth Jacobs that teaches history here. At first I thought that this just happened to be an unfortunate coincidence of two people having the same name. (Here he is!) However, I was horrified as I noticed more and more things line up.Here's an article from 2020 about Seth Jacobs. Let's look at everything that matches.
Date of Birth
It was 1992 and the then-actor had $1.25 in his pocket, the exact price of the Documentary History of the United States. He read it on his commute to the famed Steppenwolf Theatre, where he was appearing in Twelfth Night. “I was 28 and I had never taken a college-level history class,”.This would put his year of birth at around 1965, depending on when his birthday is and what month this happened. The Seth Jacobs who allegedly beat the teenage girl was 15 in 1980, putting his birthday around 1965 as well. But I see how this may also be an unfortunate coincidence. Let's continue.
Actor + Son of Actor
I grew up in New York City. My father was an actor and I wanted to be an actor. I felt at the time I had talent.Recall from earlier "Seth Jacobs, now 25, an actor and a graduate of Yale University". This aligns with the timeline of our Seth Jacobs being 28 at the time. Additionally, alleged assaulter Seth Jacob's father, Max Jacobs, was an actor as well! Another interesting coincidence!
Education
I went to Yale as an undergraduate and majored in philosophy and psychology, but that was just because my parents told me they weren’t going to pay for a Yale education if I majored in theater.Our Seth Jacobs indeed went to Yale and got their undergrad degree. And wouldn't you know it, alleged assaulter Seth Jacobs was a Yale graduate as well! Recall from earlier: "Seth Jacobs, now 25, an actor and a graduate of Yale University." These coincidences are starting to stack up...
Middle Name
This dissertation asserts that our Seth Jacob's middle name is Stephen. According to official court documents:
"Max William Jacobs as custodian for Seth Steven Jacobs under the New York Uniform Gifts to Minors Act, 703 Main St., at Tupper, Buffalo, N.Y."Our two Seth's share the same middle name!
Maybe: Physical Appearance
This one is more of a maybe, but take a look at Max Jacobs and then compare him to our Seth Jacobs.
Picture from Buffalo News
A shitty pic but it gets the point across
What now?
I have some family members in Buffalo who've told me about Jeremy Jacobs and his shadiness, but I did not expect our Seth Jacobs to be involved in it. I'm like 99% certain that these are the same people, and while it was "alleged" that he nearly beat a teenage girl to death, the circumstances surrounding it are incredibly suspicious.2024.05.17 07:23 mythos2468 Ranking Every Course I've Ever Taken at Cornell
Just took my last final ever (yay) and I'm bored so I'm just gonna rank all the courses I've taken here and share it lmao.
I'm gonna rank them in order (mostly), sorted by tiers, S being the highest and F the lowest.
S TIER
submitted by mythos2468 to Cornell [link] [comments]
I'm gonna rank them in order (mostly), sorted by tiers, S being the highest and F the lowest.
S TIER
- MUSIC 1701: This is my favorite class since day 1. My specific section was on film music, and it was the only class I actually looked forward to during Zoom University. Great experience, but probably limited to my one specific section.
- CS 4780: At first, I did not buy into the ML hype. Pure cope on my part. This class is great. Very challenging, but in an intellectually stimulating way and not a "god damn I want to end it all tonight" klind of way. My only regret is not taking it in the spring with Killian.
- CS 3410: Had a great time with this one. Projects were pretty enjoyable to complete, all things considered. Bracey was a great lecturer, and it's too bad she will not be teaching this again. Truly an experience.
- PSYCH 3310/HD 3300: Honestly, I had no idea what to expect with this class, I had zero psych background and just thought it was interested. Absolutely terrific course. Interesting material, well taught, not too difficult, just great all around.
- CS 4411: I feel like I learned more about OS from this than I did from OS itself lmao. I liked the projects, challenging in a good way.
- ENGRI 1101: Took this was Professor Schalekamp the goat. A great class that was well taught. If I ever thought about being an ORIE major, this was probably why.
- MATH 3360: Best math course I ever took at this school. Taught by a great professor (at least when I took it, no idea if it rotates), and it was a great introduction to higher-level algebra.
- CS 4410: Great c;lass with very interesting and useful information. RVR is great. I have beef with Harmony. That is all.
- HD 3290: This course is this high solely because it was so easy. 2 papers, 2 online open notes exams, and weekly journal assignments. I submitted exam 2 4 days ago and I literally don't remember a single thing already.
- CLASS 2604: I took this class so long ago that I don't really remember the details, and I took it in the winter, but antiquity is my favorite period of history by far. Mythology was interesting. Got to read the Odyssey, that was cool.
- ENGL 2810 (I think 2800 is the Fall code?): Pretty easy course, just prose and poetry. It was chill and that was enough.
- HIST 2159: This was a class about presenting the Tanakh as history. It was basically a history of ancient Israel at that point. Intersting course though, but I hated writing papers for it lol.
- CS 2800: I like math. Discrete math good. About it.
- CS 1110: Another Zoom University winner. Professor White is great, and this was a very good introductory course.
- CS 2110: Gries the goat (RIP). Good class on data structures and algorithms, what more can a simple CS major want.
- CS 3110: I don't think I intentionally put the PL courses in order, but it's pretty accurate to how I feel about them tbh. Professor Clarkson is great at what he does, no doubt. I just did not like the course content. The final project was fun though.
- PSYCH 1101: I don't know how this is an easy A course. It was not an easy A course. Interesting content though.
- CS 2024: I remember absolutely nothing about this class except that it was very easy.
- CS 4820: I am indifferent on algo. It was good, but also, I feel nothing. Probably just the final I just took talking though.
- CS 2850 (There's like 3 different other names for networks I'm not looking them up bro): This class was okay, I guess. Don't really remember anything about it except Game Theory.
- MATH 2940: I enjoy linear algebra, but I feel like all of the engineering math classes are lacking. This class just kind of exists and it's just something engineers have to take.
- MATH 2930: It was good when I took it, but from what everyone says its bad now, I guess. Then again, no one has complained this semester, so maybe it's all okay now.
- ENGRD 2300: I have no idea how this course is when taught by someone else, but I took it with Helbling. Such a poorly taught class, my god. The labs were kinda cool I guess, but for the most part they were just annoying. At least it counted as ENGRD credit.
- MATH 1920: This class crushed my soul in Zoom University. Multi will live on in my nightmares forever.
- PHYS 1112: I just don't really like physics. That is all.
- PSYCH 3800: I took this course this summer and all I remember are the words "Actor-Observer effect." It was pretty easy though, so it had that going for it.
- MATH 4710: Probability theory has been crushing my soul since Algebra 2, and it continued to do so in this course. It was ok, but probably should've taken another probability course.
- MEDVL 1103: I genuinely don't remember a single thing about this class. I have no feelings about it. I feel nothing. I wrote some papers about fairy tales and got a grade.
- CS 4320: This class makes me sad because the material is very useful, but it's just taught so badly that it makes me hate it. At least I kind of know SQL now, I guess.
- ENGRC 3500: This was the biggest waste of time class in the entire engineering curriculum. That is all.
- CS 4670: The material is very interesting. That being said, definitely the most poorly organized and structured course I have ever taken. We had 4 programming assignments, 2 written homeworks. We had 1 homework due at the very end of february, and one programming assignment due in the middle of march. Then, and this is the funny part, THE REST OF THE ASSIGNMENTS WERE ALL DUE IN THE 4 WEEKS IN BETWEEN SPRING BRING AND THE END OF CLASSES. Just avoid this, not even worth the time.
- MATH 4310: I have absolutely no idea how this class is taught with literally any other professor, but I did not have any other professor. I feel no remorse when saying this: Professor Dan Barbasch is hands down the worst professor I have ever taken a course with at Cornell. His lectures can be summarized as 55 minutes of rambling on about a topic, and then him saying "ok I will see you all next time." It was so bad that by the end of the semester, of the 40 people enrolled, only 5 actually showed up to class. One time it was literally just me alone with him for like 20 minutes while he just awkwardly lectured to one person. His teaching aside, his exams were ridiculous, and homework was equally stupid. We also had an "Independent Study" to do, which only had incredibly vague guidelines and he barely gave any guidance on it. In all, yeah this is the worst class I've ever taken by far.
2024.05.17 06:57 Kaelani_Wanderer Modded Server Offering: Halsion Reach: Precipicea
I've been quietly working on this server for a while, but it's now reached the point where we are hampered by a lack of players (and thus prospective helpers for building the server infrastructure). Thus, I present to you...
Halsion Reach: Precipicea.
Version: 1.18.2 Modpack: Halsion Reach: Precipicea (Technic launcher) Official Discord: discord.me/halsionreach (Using discord.me link for ease of memory). Primary unique features:
Halsion Reach: Precipicea is simply waiting for you to take the leap of faith. Join us, and make your mark on this world.
submitted by Kaelani_Wanderer to feedthebeastservers [link] [comments]
Halsion Reach: Precipicea.
Version: 1.18.2 Modpack: Halsion Reach: Precipicea (Technic launcher) Official Discord: discord.me/halsionreach (Using discord.me link for ease of memory). Primary unique features:
- WIP full economy (All items will have a designated value in the economy, allowing for a globally stable economic system)
- Public transport transit system (WIP as of this post)
- Active staff (Myself and my mother, both of whom are more than happy to help with any issues you might have
- Ability to create a co-operative "base" Settlement which will feed into the economy through a chosen Specialisation
- Specialisations include Residential Sprawl, Extraction (Ore mining), Arcane (magic based), Industrial (Tech based), Aquaculture (fishing and farming of ocean-based materials), and Commercial Hub (Mixed shop and residential areas, creating a kind of live-in marketplace)
- Not quite a unique feature, but common sense rules (no offensive names or structures, no griefing/theft, etc).
- A simple ranking system: Nomad (Player has just joined, but not yet become a Resident of any Settlement, nor Founded a Settlement), Resident (Has joined but not Founded a Settlement), Mayor (Has Founded a Settlement). These are the only 3 ranks needed for the way my server works.
- Above these are the staff ranks: Builder, Moderator and Admin
- Currency may be obtained by selling material goods to a shop, selling items you own "off market", or by attending a bank branch with copper ingots. You may also use the Amadron Tablet to trade copper nuggets and ingots for coins.
- Simple currency system: Coins are worth 10 of the coin below them, and coin piles are worth 9 of their coin material.
- Unique heart system thanks to Spice of Life: Carrot Edition. You begin with 1 heart, but can obtain up to in excess of 30 bars of health.
Description
Have you ever wondered what it would be like to live in a city in minecraft? Well look no further, because in the Halsion Reach Modded Nationbuilding Project (Or Halsion Reach Nation Project for short), you can do just that! Want to become a world-famous engineer? Go for it! Want to become an all-powerful mage? Sure! Or perhaps your mind is set on a more... Commercial endeavour. The world is waiting... Why not become an ultra-wealthy business mogul? Whatever you want to be, the Reach can get you there.Halsion Reach: Precipicea is simply waiting for you to take the leap of faith. Join us, and make your mark on this world.
2024.05.17 05:55 tab_rick How to Choose the Right Bathroom Sink Height?
 | Embarking on a bathroom renovation requires meticulous attention to detail. Beyond selecting elegant tiles or contemporary fixtures, the height of the bathroom sink emerges as a crucial yet often neglected consideration. The appropriate sink height is pivotal for ensuring comfort and functionality, eliminating the need for awkward bending or stretching during use. This guide aims to provide clarity on determining the optimal sink height. We will explore standard measurements, various factors that might influence your choice, and the implications of different sink types on height decisions. Let’s delve into creating a harmonious and ergonomic bathroom space. submitted by tab_rick to KKRsolidsurface [link] [comments] What Is the Standard Bathroom Sink Height?For professionals in the bathroom design industry, understanding the nuances of sink height is vital. Sink height impacts both ergonomic efficiency and accessibility. Let’s dive into the specifics with precise figures, backed by international standards, to assist in making informed decisions.
https://preview.redd.it/336ddv1iuw0d1.png?width=612&format=png&auto=webp&s=397e95810eb47d68dc185a8b14869d50b0b2722f Factors Influencing the Ideal Bathroom Sink HeightUser’s Height and ErgonomicsAlright, let’s get personal for a second. How tall are you? Your height plays a significant role in determining the ideal vanity height. If you’re taller than average, you might find comfort height vanities more to your liking, which are typically around 36 inches. On the flip side, if you’re on the shorter side, a sink height closer to 30 inches might be more comfortable. Ergonomics isn’t just a fancy word; it’s about designing your bathroom in a way that maximizes efficiency and comfort. So, take a moment to consider your own height and how it will interact with your new bathroom vanity.Intended UsersWho else will be using this bathroom? If you have small children, you might want to consider a lower sink height for easy accessibility. For homes with elderly or disabled individuals, ADA-compliant sinks are the way to go. These sinks are designed with accessibility in mind, ensuring that everyone, regardless of age or physical ability, can use the bathroom with ease.Custom Design ChoicesYour bathroom is your sanctuary, right? If you’re going for a custom design, the sky’s the limit. Just remember, custom designs might require additional plumbing work, which could affect the overall height. Also, custom designs can significantly impact the resale value of your home. So, while that ultra-modern sink might look fabulous, consider how it fits into the overall bathroom design and how future homeowners might view it.Commercial vs. Residential SpacesIn commercial spaces, you’ve got to think about the general public. ADA compliance is crucial here. Residential spaces offer more flexibility, but it’s still good to stick close to standard heights for ease of use. The last thing you want is for customers or clients to remember your business because of an uncomfortably high or low sink.Maintenance NeedsEver tried cleaning a sink that’s too high or too low? Not fun. The height of the sink can impact how easy it is to clean and maintain. A sink that’s too high will make it difficult to clean those hard-to-reach spots, while a sink that’s too low will have you bending and crouching, which isn’t good for your back.Storage NeedsGot a lot of stuff? A higher sink might allow for additional storage underneath. But don’t go overboard; you don’t want to turn reaching for the soap into a workout. The key is to find a balance between storage needs and ease of use.Plumbing ConstraintsLast but not least, let’s talk plumbing. The existing plumbing in your bathroom could limit how high or low you can go with your sink. Always consult with a professional before making any drastic changes. You don’t want to fall in love with a sink only to find out it won’t work with your existing plumbing.Sink Types and Their Impact on Sink HeightSelecting the appropriate height for your bathroom sink is a nuanced process, significantly influenced by the type of sink you opt for. Different sink varieties come with distinct installation prerequisites, aesthetic appeals, and functional characteristics that can potentially affect the final height of the installed sink. Let’s explore the various sink types and how they might influence your selection process.Drop-in SinksDrop-in, or top-mount sinks, are characterized by their installation method where they are fitted into a cut-out in your countertop, with the rim resting visibly on the surface. This style is favored for its straightforward installation process and adaptability. When determining the height, it’s vital to consider that the countertop level and the sink’s depth will collectively dictate the final height. Therefore, if your countertop is already at a designated height, the addition of a drop-in sink will augment that measurement slightly.Undermount SinksUndermount sinks are installed directly below the countertop, creating a smooth, continuous surface. This sleek design not only enhances the bathroom’s visual appeal but also simplifies the cleaning process, as there is no rim interrupting the countertop. To ascertain the final height, one must consider both the countertop’s height and the sink’s depth. Moreover, it is crucial to ensure that the countertop material possesses the requisite strength to support the sink, particularly if constructed from substantial materials like stone.Above-counter SinksAbove-counter or vessel sinks are positioned directly on the countertop surface, serving as a prominent, elegant feature in any bathroom. However, their placement on the counter means they can notably elevate the overall height. If you are contemplating a vessel sink, you might need to opt for a lower vanity to maintain a comfortable sink height.Cabinet SinksCabinet sinks seamlessly integrate storage and functionality, with the sink incorporated within a cabinet structure that provides additional storage space. The cabinet’s height generally dictates the sink’s height, presenting a unified solution ideal for bathrooms with limited space, without compromising on functionality or style.Freestanding SinksFreestanding sinks, as the name suggests, stand on their own without needing a countertop or vanity. They’re great for smaller spaces and offer a minimalist look. Typically, they adhere to standard sink heights, but always check the specifications to ensure it fits your needs.Wall-hung SinksWall-hung sinks are mounted directly to the wall, freeing up floor space and offering a clean, modern look. The height can be adjusted based on your preferences, but remember that plumbing constraints might limit how high or low you can install the sink. It’s a flexible option but requires careful planning.
Ideal Height for Other Bathroom DecorWhen designing or renovating a bathroom, it’s not just the sink height you need to consider. Other fixtures and decor elements play a role in creating a harmonious and functional space.
Useful Tips for Perfect Sink InstallationEmbarking on the journey of installing a new bathroom sink involves more than just selecting a beautiful sink. It’s a meticulous process that demands careful planning and consideration of various factors to ensure the end result is both aesthetically pleasing and functional. Let’s delve into some tips that can guide you to achieve that perfect sink installation.Consider the UsersFirst and foremost, consider who will be using the sink. If your home houses individuals of varying heights, including small children, it might be worth considering a sink that can be adjusted or installed at a height that caters to everyone’s needs for easy accessibility.Plumbing and Electrical OutletsBefore settling on a sink, it’s essential to understand the plumbing constraints and the positioning of electrical outlets in your bathroom. Sometimes, the existing setup might limit your choices, and being aware of this can save you from unnecessary headaches down the line.Storage and Counter SpaceThink about your storage needs. If you require additional storage, opt for a vanity that comes with built-in cabinets. Also, ensure that the countertop offers sufficient space to hold your essential items without looking cluttered.Material and MaintenanceSink material isn’t just about looks; it’s about durability and upkeep. Some materials might look stunning but are prone to scratches or stains over time. When choosing, consider how much effort you’re willing to put into its care and if it aligns with your design goals.Elevate Your Business with KKR Solid Surface SinksIn the bustling market of bathroom fixtures, discerning professionals are constantly searching for products that fuse quality with exceptional design. KKR solid surface sinks have consistently emerged as a leading choice. A recent industry analysis revealed that over 80% of professional designers, when surveyed, identified durability and aesthetic appeal as their top priorities when selecting bathroom sinks. KKR, with its expansive range from chic stools to elegant bathtubs and sophisticated back panels, not only aligns with these priorities but also sets industry standards.Beyond aesthetics, the inherent functionality of KKR products is second to none. KKR solid surface sinks possess a longer lifespan than many other market competitors. This extended longevity is not just a testament to quality but also ensures a reduced need for replacements, addressing a significant concern for professionals. Paired with its reputation for design versatility – offering both standard and custom solutions – KKR solid surface sinks translate into a wise investment. With every installation, businesses not only showcase a commitment to luxury but also project a dedication to long-lasting quality. ConclusionAchieving the perfect sink height goes beyond adhering to industry norms; it’s about creating a cohesive space where form meets function. While the prevalent standard vanity heights hover between 31 to 36 inches, professionals know that customization is key.Comfort is not just about physical ease; it’s also about creating an environment where every element serves its purpose seamlessly. The decisions professionals make impact the end user’s experience. By straying from the one-size-fits-all mentality and factoring in specific requirements, designers can craft bathrooms that exude elegance and efficiency. With KKR, you are not just choosing a sink, you’re embracing a philosophy that prioritizes user comfort and aesthetics, ensuring a space that stands as a testament to your commitment to excellence. |
2024.05.17 05:34 SoupBrief174 Women-Led Non-Profit Coalition Releases Report Exposing Rampant Rape Culture in Music Industry
Press Release Wednesday February 28th, 2024
(Los Angeles) – This Wednesday, a coalition of four women-led non-profits will launch a multi-month, aggressive advocacy campaign to hold the music industry accountable for sexual violence. The first stage of this coordinated campaign is the release of a report detailing the sexual abuse of women by artists, executives, and other prominent figures in the music industry. This comprehensive report chronicles the scathing history of seven decades of sexual abuse and coverup, from the 1950s to the present. Survivors and allies will shed light on the pervasive culture of abuse and demand systemic change in the music industry by making five demands:
1. No more NDAs (Non-Disclosure Agreements) that silence survivors.
2. Mandated policy protocols. If You See Something, Say Something.
3. An independent organization funded by MusiCares – The Make the Music Industry Safe Division.
4. Publication of the names of artists and executives credibly accused of sexual assault and harassment.
5. Adoption of a Survivor Bill of Rights.
Beyond releasing this report, this coalition will outline demands for reform, call for new legislative measures, demand congressional hearings, and more.
WHEN: Wednesday, February 28, 2024, 1 pm PST
WHERE: 12011 San Vicente Blvd Suite 700, Los Angeles, CA 90049
Please email [makethemusicindustrysafe@gmail.com](mailto:makethemusicindustrysafe@gmail.com) and provide press credentials.
LIVE STREAM: The press conference will be live-streamed on makemusicsafe.org
For interview requests, please contact [makethemusicindustrysafe@gmail.com](mailto:makethemusicindustrysafe@gmail.com)
Non-profit organizations co-releasing the report:
The Representation Project: The Representation Project (TRP) is the leading gender watchdog organization. Using film and media as catalysts for cultural transformation, TRP inspires individuals and communities to challenge limiting gender stereotypes and shift norms. Jennifer Siebel Newsom founded the organization in 2011 in response to the overwhelming public demand for ongoing education and social action in support of her first film, Miss Representation.
Lift Our Voices: The mission of Lift Our Voices (LOV) is simple: to transform the American workplace, making it safer and more equitable for everyone. By organizing communities to change laws and policies, advocating for survivors, and promoting awareness for a safer and more inclusive workplace environment, we are rewriting the rules to ensure every worker has a voice.
The Punk Rock Therapist: The Punk Rock Therapist is a grassroots group of women who have dedicated their time, resources, hearts + souls to supporting survivors of sexual assault in the music industry through free therapy with a professional trauma-informed therapist who has walked the same path. TPRT provides ongoing mental health support centered around survivor empowerment + liberation from all forms of gender-based oppression.
Female Composer Safety League: The Female Composer Safety League (FCSL) was conceived in 2018 and was launched shortly after. Its mission to advocate for the safety and inclusion of women composers serves a vital need in the male-dominated fields of film music, television music, concert music, video game music, and commercial composing.
"SOUND OFF" Report: https://therepproject.org/wp-content/uploads/2024/02/SOUND-OFF-Make-the-Music-Industry-Safe-Report-February-2024.pdf
Report reveals over 35 musicians accused of sexual misconduct and over 18 executives accused of sexual assault, misconduct, or cover-up of crimes.
Source: https://www.thepunkrocktherapist.org/education
submitted by SoupBrief174 to DarkKenny [link] [comments]
(Los Angeles) – This Wednesday, a coalition of four women-led non-profits will launch a multi-month, aggressive advocacy campaign to hold the music industry accountable for sexual violence. The first stage of this coordinated campaign is the release of a report detailing the sexual abuse of women by artists, executives, and other prominent figures in the music industry. This comprehensive report chronicles the scathing history of seven decades of sexual abuse and coverup, from the 1950s to the present. Survivors and allies will shed light on the pervasive culture of abuse and demand systemic change in the music industry by making five demands:
1. No more NDAs (Non-Disclosure Agreements) that silence survivors.
2. Mandated policy protocols. If You See Something, Say Something.
3. An independent organization funded by MusiCares – The Make the Music Industry Safe Division.
4. Publication of the names of artists and executives credibly accused of sexual assault and harassment.
5. Adoption of a Survivor Bill of Rights.
Beyond releasing this report, this coalition will outline demands for reform, call for new legislative measures, demand congressional hearings, and more.
WHEN: Wednesday, February 28, 2024, 1 pm PST
WHERE: 12011 San Vicente Blvd Suite 700, Los Angeles, CA 90049
Please email [makethemusicindustrysafe@gmail.com](mailto:makethemusicindustrysafe@gmail.com) and provide press credentials.
LIVE STREAM: The press conference will be live-streamed on makemusicsafe.org
For interview requests, please contact [makethemusicindustrysafe@gmail.com](mailto:makethemusicindustrysafe@gmail.com)
Non-profit organizations co-releasing the report:
The Representation Project: The Representation Project (TRP) is the leading gender watchdog organization. Using film and media as catalysts for cultural transformation, TRP inspires individuals and communities to challenge limiting gender stereotypes and shift norms. Jennifer Siebel Newsom founded the organization in 2011 in response to the overwhelming public demand for ongoing education and social action in support of her first film, Miss Representation.
Lift Our Voices: The mission of Lift Our Voices (LOV) is simple: to transform the American workplace, making it safer and more equitable for everyone. By organizing communities to change laws and policies, advocating for survivors, and promoting awareness for a safer and more inclusive workplace environment, we are rewriting the rules to ensure every worker has a voice.
The Punk Rock Therapist: The Punk Rock Therapist is a grassroots group of women who have dedicated their time, resources, hearts + souls to supporting survivors of sexual assault in the music industry through free therapy with a professional trauma-informed therapist who has walked the same path. TPRT provides ongoing mental health support centered around survivor empowerment + liberation from all forms of gender-based oppression.
Female Composer Safety League: The Female Composer Safety League (FCSL) was conceived in 2018 and was launched shortly after. Its mission to advocate for the safety and inclusion of women composers serves a vital need in the male-dominated fields of film music, television music, concert music, video game music, and commercial composing.
"SOUND OFF" Report: https://therepproject.org/wp-content/uploads/2024/02/SOUND-OFF-Make-the-Music-Industry-Safe-Report-February-2024.pdf
Report reveals over 35 musicians accused of sexual misconduct and over 18 executives accused of sexual assault, misconduct, or cover-up of crimes.
Source: https://www.thepunkrocktherapist.org/education
2024.05.17 05:28 Otherwise_Emu_5019 apostle PAUL w/no HOPE is a piece of SHIT.
Watching the documentary on Max on Kevin Spacey triggered (I hate that word) an event in my life back in 1997, that I pushed away. I felt shame then, but as a 54 yr old man today, I’m not sure how to feel. Anger and guilt that if I would have said something…but I know nothing would happen anyway. Instead of getting my pet boy Sherman, let me bullet point the early adolescent me in 1977. That was the first time I was “fiddled about” by a man. 1978, same thing in the arcade room at the 7/11. See kids, back then, they had a room in the store where they had video games. Completely dark. Out of eyesight. We didn’t think nor did it ever occur that it was a paradise for predators. 1983, wash, rinse, repeat. Even though I liked girls, I (at 13) assumed that I must be gay because why else would that happen to me. I mean, I always liked listening to my mom’s records ike Hair, JCS, Cabaret. One day, I found a book in my father’s shelf about “cruising”. It said I needed to wear bright shirt, tight pants and ride my bike to the bowling alley and wait in the bathroom. Again, it is 1983. But why would my dad have that book? A story for another day. Nothing ever happened and I still liked girls, I guess the gay didn’t take. So much for bullet points. I got interested in theater in high school. I was doing 2-adays on the football field watching the pretty girls go into an air conditioned room. From those uncontrollable, testosterone high school beginnings, grew a passion for acting. It felt right. I never wanted to go into film. Film is for wussies multiple takes pfft, the stage, however, you have one chance. I had no desire for fame just to make a humble living as a local working actor. A big fish in a small pound. So I toiled in community theatre, getting better and learning. As an adult, gay guys in the theater is like Catholics in the Vatican. I have been honored to be featured such as Angels in America, Jeffrey, etc on stage. Back in the 1990’s a straight man like me can act in a predominantly gay play because it was based on talent alone. I finally made it, the one place, my one goal. The Alley Theater. Of course, I was walking scenery but my foot was in the door and I got paid enough to stock up on Ramen, peanut butter and crackers after I bought 2 buck chuck and weed. I acted the fuck out of an immigrant with no lines who was supposed to be cold in A View from a Bridge. More walking scenery parts, more Ramen. I was happy. Having showmances and experiences with women from other plays (a germaphobe from a hit tv series that wasn’t Elaine or Puddy) a singer songwriter who kept singing about some guy named Joey. Small speaking part. Becoming known as me and not that other guy named Parsons. I did it. And then, he happened, the piece of shit. I was backstage after rehearsal and he said “you want to know the secret of how we can go from the stage to backstage dressing room when we need to do a fast change?” Let’s back up, this person was/is respected at the theater a company member with prestige. I said of course. He led me out the door to the stairwell and said “you fell for it “ and deep kissed me. Now, I’m a tall, fit guy, not chiseled but not shabby. I know how to fight thanks to my older brothers. I did nothing. I was shocked. I didn’t kiss back, but did I close my eyes? What did I do that invited his behavior? Did I reject him? Am I going to be replaced? I have only told one person this who just so happened to be gay. I have never seen him so disgusting and rage filled. He was going to do something to that “old queen”. My friend is the most kind, peaceful, loving person I have known and I saw him and had the look of Manson in court. I begged him not to do anything for fear of repercussions. That was my last time at the Alley Theater and would be 20 years before I picked up a script and acted in a small community play. I don’t blame him or my past. I stopped because I let it control me, I let that incident take away and taint my passion. I used to think I should have beaten the shit out of him. I know I could have broken his neck. But I didn’t. I stood there like a mute idiot shocked. Thank you for the 10’s of people who may read this. I, for one, feel better.
submitted by Otherwise_Emu_5019 to confessions [link] [comments]
2024.05.17 05:28 SoupBrief174 For any survivors of SA in the music industry, free therapy & support
Hi everyone hope you all have been treating yourselves kindly and continuing to take care of you :)
I came across The Punk Rock Therapist, a non profit org ran by Kristina Sarhadi, Sarah Levy, and Samantha Maloney. Samantha being the interviewee of https://www.youtube.com/watch?v=UCTOWPjPP_U
These are some of the ladies that co-released the “SOUND OFF: The Make the Music Industry Safe” Report from earlier. They provide free therapy sessions for survivors of predators in the music industry with people with direct experience. May this be a helpful tool to anyone who needs some support
Website: https://www.thepunkrocktherapist.org/
Instagram: https://www.instagram.com/thepunkrocktherapistorg/
“SOUND OFF: The Make the Music Industry Safe” Report: https://therepproject.org/wp-content/uploads/2024/02/SOUND-OFF-Make-the-Music-Industry-Safe-Report-February-2024.pdf
Their Press Release from February 28th 2024:
"(Los Angeles) – This Wednesday, a coalition of four women-led non-profits will launch a multi-month, aggressive advocacy campaign to hold the music industry accountable for sexual violence. The first stage of this coordinated campaign is the release of a report detailing the sexual abuse of women by artists, executives, and other prominent figures in the music industry. This comprehensive report chronicles the scathing history of seven decades of sexual abuse and coverup, from the 1950s to the present. Survivors and allies will shed light on the pervasive culture of abuse and demand systemic change in the music industry by making five demands:
1. No more NDAs (Non-Disclosure Agreements) that silence survivors.
2. Mandated policy protocols. If You See Something, Say Something.
3. An independent organization funded by MusiCares – The Make the Music Industry Safe Division.
4. Publication of the names of artists and executives credibly accused of sexual assault and harassment.
5. Adoption of a Survivor Bill of Rights.
Beyond releasing this report, this coalition will outline demands for reform, call for new legislative measures, demand congressional hearings, and more.
WHEN: Wednesday, February 28, 2024, 1 pm PST
WHERE: 12011 San Vicente Blvd Suite 700, Los Angeles, CA 90049
Please email [makethemusicindustrysafe@gmail.com](mailto:makethemusicindustrysafe@gmail.com) and provide press credentials.
LIVE STREAM: The press conference will be live-streamed on makemusicsafe.org
For interview requests, please contact [makethemusicindustrysafe@gmail.com](mailto:makethemusicindustrysafe@gmail.com)
Non-profit organizations co-releasing the report:
The Representation Project: The Representation Project (TRP) is the leading gender watchdog organization. Using film and media as catalysts for cultural transformation, TRP inspires individuals and communities to challenge limiting gender stereotypes and shift norms. Jennifer Siebel Newsom founded the organization in 2011 in response to the overwhelming public demand for ongoing education and social action in support of her first film, Miss Representation.
Lift Our Voices: The mission of Lift Our Voices (LOV) is simple: to transform the American workplace, making it safer and more equitable for everyone. By organizing communities to change laws and policies, advocating for survivors, and promoting awareness for a safer and more inclusive workplace environment, we are rewriting the rules to ensure every worker has a voice.
The Punk Rock Therapist: The Punk Rock Therapist is a grassroots group of women who have dedicated their time, resources, hearts + souls to supporting survivors of sexual assault in the music industry through free therapy with a professional trauma-informed therapist who has walked the same path. TPRT provides ongoing mental health support centered around survivor empowerment + liberation from all forms of gender-based oppression.
Female Composer Safety League: The Female Composer Safety League (FCSL) was conceived in 2018 and was launched shortly after. Its mission to advocate for the safety and inclusion of women composers serves a vital need in the male-dominated fields of film music, television music, concert music, video game music, and commercial composing.
Source: https://www.thepunkrocktherapist.org/education
submitted by SoupBrief174 to DarkKenny [link] [comments]
I came across The Punk Rock Therapist, a non profit org ran by Kristina Sarhadi, Sarah Levy, and Samantha Maloney. Samantha being the interviewee of https://www.youtube.com/watch?v=UCTOWPjPP_U
These are some of the ladies that co-released the “SOUND OFF: The Make the Music Industry Safe” Report from earlier. They provide free therapy sessions for survivors of predators in the music industry with people with direct experience. May this be a helpful tool to anyone who needs some support
Website: https://www.thepunkrocktherapist.org/
Instagram: https://www.instagram.com/thepunkrocktherapistorg/
“SOUND OFF: The Make the Music Industry Safe” Report: https://therepproject.org/wp-content/uploads/2024/02/SOUND-OFF-Make-the-Music-Industry-Safe-Report-February-2024.pdf
Their Press Release from February 28th 2024:
"(Los Angeles) – This Wednesday, a coalition of four women-led non-profits will launch a multi-month, aggressive advocacy campaign to hold the music industry accountable for sexual violence. The first stage of this coordinated campaign is the release of a report detailing the sexual abuse of women by artists, executives, and other prominent figures in the music industry. This comprehensive report chronicles the scathing history of seven decades of sexual abuse and coverup, from the 1950s to the present. Survivors and allies will shed light on the pervasive culture of abuse and demand systemic change in the music industry by making five demands:
1. No more NDAs (Non-Disclosure Agreements) that silence survivors.
2. Mandated policy protocols. If You See Something, Say Something.
3. An independent organization funded by MusiCares – The Make the Music Industry Safe Division.
4. Publication of the names of artists and executives credibly accused of sexual assault and harassment.
5. Adoption of a Survivor Bill of Rights.
Beyond releasing this report, this coalition will outline demands for reform, call for new legislative measures, demand congressional hearings, and more.
WHEN: Wednesday, February 28, 2024, 1 pm PST
WHERE: 12011 San Vicente Blvd Suite 700, Los Angeles, CA 90049
Please email [makethemusicindustrysafe@gmail.com](mailto:makethemusicindustrysafe@gmail.com) and provide press credentials.
LIVE STREAM: The press conference will be live-streamed on makemusicsafe.org
For interview requests, please contact [makethemusicindustrysafe@gmail.com](mailto:makethemusicindustrysafe@gmail.com)
Non-profit organizations co-releasing the report:
The Representation Project: The Representation Project (TRP) is the leading gender watchdog organization. Using film and media as catalysts for cultural transformation, TRP inspires individuals and communities to challenge limiting gender stereotypes and shift norms. Jennifer Siebel Newsom founded the organization in 2011 in response to the overwhelming public demand for ongoing education and social action in support of her first film, Miss Representation.
Lift Our Voices: The mission of Lift Our Voices (LOV) is simple: to transform the American workplace, making it safer and more equitable for everyone. By organizing communities to change laws and policies, advocating for survivors, and promoting awareness for a safer and more inclusive workplace environment, we are rewriting the rules to ensure every worker has a voice.
The Punk Rock Therapist: The Punk Rock Therapist is a grassroots group of women who have dedicated their time, resources, hearts + souls to supporting survivors of sexual assault in the music industry through free therapy with a professional trauma-informed therapist who has walked the same path. TPRT provides ongoing mental health support centered around survivor empowerment + liberation from all forms of gender-based oppression.
Female Composer Safety League: The Female Composer Safety League (FCSL) was conceived in 2018 and was launched shortly after. Its mission to advocate for the safety and inclusion of women composers serves a vital need in the male-dominated fields of film music, television music, concert music, video game music, and commercial composing.
Source: https://www.thepunkrocktherapist.org/education
2024.05.17 05:15 Rogue_Henchman Career direction
I'll start by acknowledging how slow it is as an industry.
Location: New York Status: Non-Union Problem: Not getting Co-Star auditions.
I've been freelancing with my manager since Dec 2020. I've gotten multiple costar auditions in 2021 and 2022. I've gotten pinned once for Law & Order and some interest from The Equalizer(show).
I've been freelancing with my agent since July 2023. I've only seen one costar audition which they rescinded and gave to a stunt actor. The rest have been non-union commercials.
I haven't booked anything from my reps ever. My reel looks fresh coming off of a day player role I'm a Lifetime movie. I just finished a meisner acting intensive and took new headshots to increase marketability.
Should I look for new reps? I know everyone's journey is different but people I've been in projects with are booking tv roles and I can't get an audition right now.
submitted by Rogue_Henchman to acting [link] [comments]
Location: New York Status: Non-Union Problem: Not getting Co-Star auditions.
I've been freelancing with my manager since Dec 2020. I've gotten multiple costar auditions in 2021 and 2022. I've gotten pinned once for Law & Order and some interest from The Equalizer(show).
I've been freelancing with my agent since July 2023. I've only seen one costar audition which they rescinded and gave to a stunt actor. The rest have been non-union commercials.
I haven't booked anything from my reps ever. My reel looks fresh coming off of a day player role I'm a Lifetime movie. I just finished a meisner acting intensive and took new headshots to increase marketability.
Should I look for new reps? I know everyone's journey is different but people I've been in projects with are booking tv roles and I can't get an audition right now.
2024.05.17 05:09 snowball-jam How to Prioritize: Building Generational Wealth or Advancing My Career?
24M. I am a bit pressured if I would continue my career to become an Architect in the Philippines. The reason: low salary, under-appreciated profession (as many described which is sort of true), and the workload is honestly heavy, as it is not fairly compensated well.
I would choose to work at an outsource/international company as compensation are higher and focus on several tools utilize namely: Revit, ArchiCAD or Rhinoceros3D if I would work on the AEC industry.
On the other hand, I have an instinct, feeling and a gut to embark on an entrepreneurial journey.
To narrate it, we have a family business - a commercial establishment comprising: carinderia, small public community market (meat, fish and vegetable stalls (what we own) - alongside a rental space for grocery and fresh buko stand) and adjacent, a rental space: self-service laundry.
I am the youngest of the family and my parents are getting older (senior citizens).
I want them to retire, enjoy life, travel and visit their apos (grandchildren). My siblings (3 of them) are now residing abroad, all of them are into healthcare.
submitted by snowball-jam to adultingph [link] [comments]
I would choose to work at an outsource/international company as compensation are higher and focus on several tools utilize namely: Revit, ArchiCAD or Rhinoceros3D if I would work on the AEC industry.
On the other hand, I have an instinct, feeling and a gut to embark on an entrepreneurial journey.
To narrate it, we have a family business - a commercial establishment comprising: carinderia, small public community market (meat, fish and vegetable stalls (what we own) - alongside a rental space for grocery and fresh buko stand) and adjacent, a rental space: self-service laundry.
I am the youngest of the family and my parents are getting older (senior citizens).
I want them to retire, enjoy life, travel and visit their apos (grandchildren). My siblings (3 of them) are now residing abroad, all of them are into healthcare.
2024.05.17 04:49 NewWays91 Why Anastasia Worked as a Film, But Not on Stage (LOOOONG POST)
Adaptation is a game of give and take. Especially when you're adapting something from film to the stage, you have to be aware of what you are losing by removing from the piece when placing all of it in real time in front of the actors. With film you can use close-ups, montages, quick editing, lighting tricks, visual effects etc to create your world. The suspension of belief in film can be harder to keep in tact because we expect a degree of realism from it. In the theater, we know everything we're watching is an artifice. We know the sets are made of cardboard. We know the ocean is shiny plastic. We know that's not real blood or a real knife. You're going into this with a much higher suspension of belief than in film where the goal is often to mimic real life as much as humanly possible. One bad visual effect can break the whole movie. Think of how many reviews, good and bad, couldn't help but mention the less than great visuals in the final battle in the first Black Panther film. On stage, you have the benefit of actors being able to respond in real time to anything that goes wrong and because that person is right in front of us, we have that connection with them and we can go along for the ride much easier than with film. That give and take can make or break an adaptation because for whatever you take away you have to justify that choice by adding something to it. Many adaptations, regardless of the medium, don't always do this and if they do they don't fully understand why what they removed worked. Anastasia is one such example of this because while they do try to add new elements to the story, it almost feels like an entirely different show. But to explain the intricacies of that we need to go back, all the way back.
Don Bluth made a name for himself primarily in the 80's after leaving Disney and creating his own animated films. His work was seen by many as anti-Disney because of the complexity of themes, darker subject matter and animation style that wasn't afraid to be uncomfortable or ugly. That's the general perception of his work but I'd also argue that the relationships between the characters in his films were much more fleshed out and complex than a lot of the stuff Disney was releasing at the time or after. Bluth wasn't afraid to have his characters be rude or mean or cowardly or insecure. The protagonist wasn't always a hero in the purest sense and oftentimes characters would act in a way we'd consider realistic. If they were in a scary situation, they'd run away or try to get out of it. If it was a situation that could benefit them, they'd try to profit to the fullest. Bluth placed his characters in worlds that were very mean and cruel but this only served to heighten the moments of joy and levity. As the 90's rolled on and Disney managed to climb back to the top of the mountain, Bluth did what he could to try to keep up. He didn't see a ton of success in the 90's largely because while at times he tried to ape the Disney formula, they still felt like watered down Don Bluth films.
Enter Lynn Arhens and Stephen Flathery.
In the 90's, these two were some of the biggest names in musical theater with projects like Once On This Island and Ragtime under their belts, to name a few. Lynn Arhens is actually a personal hero and inspiration of mine and oddly enough not for her theater work, although I'm a huge fan of that as well. I grew up watching Schoolhouse Rock as a kid and I actually learned how to write songs while watching those videos. Laugh all you want but you tell me how'd you explain something as complex as parts of grammar or the solar system or the revolutionary war in three minutes or less, for children no less. Her superpower is being able to explain a lot of information in a very short amount of time while having you sing along. Another thing she excels at is making songs the audience can actually leave the theater humming. That being said, it's worth contextualizing the world in which the bulk of their success was born.
Much like Democrats shell shocked by the Republican successes of the 90's, everyone not named Andrew Lloyd Webber was still in a state of awe and envy due to the massive success of Phantom of the Opera, Cats and Evita. The mega musical was born in the 80's and as we tap danced into the 90's, everyone else was trying to catch up. A characteristic of musicals from this era was that they all had that one big song they could perform just about everywhere to pull people in who otherwise may have never given the show a second glance. This was often the catchiest song in the show, oftentimes the opener, and the rest of the songs could range from equally good to songs you'd skip on the soundtrack. This is very much an approach that Arhens and Flathery would use and while I wouldn't say any of their songs were outright bad, there's often quite a bit of fluff. On the flip side, the 90's Disney animated musicals maybe had 5 to 7 songs and there was definitely an economy of time at play here. Today an animated film can be two hours, in the 90's this was far from the case. Every song needed to have a specific function within the story and character development. Rarely would you get songs that are just there to be there. Les Poissons is an example of this. The court of miracles and gargoyles number from Hunchback are also examples. But usually the stronger films like Aladdin, Beauty and the Beast, The Lion King etc were very careful about how many songs and where they were placed. In theater, you can cut and remove songs during previews or even during the run of the show. Outside of doing test screenings, film doesn't really afford you this unless you're early enough in production that the changes can be done in a reasonable amount of time. It's not like Disney could've released a new version of Hunchback as it was in theaters if audiences weren't responding to A Guy Like You. All of this is important because while Don Bluth was very much aping Disney's style at the time, it was clear he was trying to bring elements of the theater to the film as well.
Anastasia the film for all its flaws, and we'll get to those, is a pretty tight narrative and nearly every single song serves some sort of narrative or character based purpose. If a character is singing there is a reason why and that character is important in some way. A big part of the reason why it works is because while it's definitely inspired by The Mouse's then current offerings, it still very much feels like a Don Bluth film. The concept of even turning this story into a musical is very off-beat and in-tune with what Bluth would normally make. I can't imagine Disney making The Secret of Nimh but I can imagine Bluth trying and succeeding at making The Black Cauldron. I really don't see Disney ever making a film like All Dog's Go to Heaven but I can definitely see Bluth doing something really interesting with The Great Mouse Detective. His style is dark and evocative and isn't afraid to make you deeply uncomfortable or sad. Anastasia definitely toes the line but there's sequences in there I just cannot imagine Disney ever doing. The sequence for Once Upon a December is so haunting, melancholy, deeply sad and yet hopeful. Anything having to do with those weird demon things, especially when they try to get Anya to commit suicide, is something Eisner would never let his animators do. At the same time, the relationship between Anya and Demitri feels less like a fairytale romance but honestly like a 90's Meg Ryan romcom. They argue like normal people. They joke with each other like an actual couple would. They feel very realistic and realistic relationships between characters is something Bluth excels at. Because the worlds he creates are usually pretty ugly in some ways, it allows for the relationships to be more grounded. You wouldn't but Anya falling for Demitri in a day like Ariel did for Eric because the world the former couple inhabits feels harsher and therefore the characters have more grit. That being said the film does have flaws that become very relevant once we start talking about the stage version:
1) The villain does not feel properly integrated into the story. Most Disney villains had some kind of relationship with the protagonist that sets the main conflict into motion. Ursula is the one who conducts the spell. Scar is both Simba's uncle and kills Mufasa. Jafar is the first main character we ever see and he's the one who finds Aladdin. Rasputin is in the opening and he does set up the main conflict but there's no relationship between him and the protagonists. They don't even know he's alive until the last ten minutes of the film. He impact the narrative but he definitely could have been woven into the narrative more. I think confining him to the underworld was a mistake. With some slight reworking, you could have had him appearing as some of the randos Anastasia meets along her journey or even have the orphanage owned by him a la Mister Sinister. The setting and time period feels more like a suggestion than any sort of adherence to historical accuracy so they could've gone wild.
2) Most of the stuff in Paris feels like a completely separate movie. The last song we get is Key to Your Heart, which is also the closest we get to fluff, and there's no song within the film proper until after that. At the Beginning absolutely slaps but it should've been in the actual film. Everything after Sophie's song is fine but the film takes on a much more serious and grounded tone until Rasputin decides to remind us he's in the movie. The somewhat surreal tone and the momentum the film had comes to a screeching halt once we get to Paris. That being said, it's still a very good portion of the film but it doesn't really match with anything else in the first two acts.
3) Rasputin's motivations aren't entirely clear. He's still alive because the curse hasn't been fulfilled, I think. He wants to die forreal but that only happens if Anya is offed and even then that's ambiguous. Does he wanna die? Does he wanna be human again? Did he want power of any sort? If he wants to fulfill the curse to move on, we see he bites the dust quite literally once Anya breaks the glowing thingy anyway. It's a cartoon so you could say don't think too hard about it but the logic falls apart the exact second you analyze it. Why not have Bartok just smash the thing once he realizes it's still active? Why does Rasputin want the Romanovs dead so damn badly? His reasonings aren't explained well in the beginning so his actions feel more like an act of interia that anything else.
4) The side characters are kinda annoying. Vlad is mostly okay because he serves a definite role in the story as playing the more level headed one to Demitri's more fiery personality. Sophie starts to grate on my nerves but whenever she does they shunt her out of the film. The mandatory cute animal sidekicks range from irritating to please make it stop.
For what it's worth, the stage adaptation exercises both animal sidekicks largely be consequence of this version trying to be more historical fiction rather than a Disney Renaissance style musical. That brings us to one of the biggest and most controversial changes in the stage version, Gleb. He's a Russian officer who is torn between his feelings for Anya and his duty to the cause. He replaced Rasputin as the main threat. With Gleb, they do rectify points 1 and 3 but this is not without losing much of the energy Rapustin injects into the piece. For all his faults, Rasputin and his weird demon things move shit from Point A to Point B while also being very entertaining at the same time. Gleb has more of a motivation than Rasputin but the story comes to a screeching halt whenever we have to focus on him. He is in love with Anya because she's hot I guess and we get so many songs of this dude belting for the gods about how much he wants her but he can't pursue her. There are a total of three songs counting reprises that are dedicated to this and they're basically all the same. Gleb wants to bone, he has daddy issues and we move on. He interacts with her more but there is no reason he should be this blue balled over a chick he does not know. Anya and Demitri still have great chemistry and the plot is reworked to give them more time together. I like their dynamic more in the film but the musical does this fine but just differently. Anya doesn't really even know Gleb nor that he wants to see if the curtains match the drapes. So we're stuck in this completely unnecessary lopsided love triangle that makes Wolverine, Scott and Jean Grey's bullshit seem like Shakespeare. There is almost zero evolution within Gleb's many croons about how much he wants to bang this chick. He comes to basically the same revelation every single time so whenever he gets a song it's basically time for a pee break. Unlike Rapustin who at least gets an entertaining last fight and death, Gleb doesn't really even get that. He corners her, she goes full on Malala and tells him to do what he's gotta do, he chickens out and dips. They try to give it some weight by having Anya comfort him but she doesn't know this man and she certainly doesn't know he's in love with her. It feels even less powerful than the original ending because at least Rasputin actually killed her family so there's some connection there. Gleb is the son of the guy who was involved so his connection to any of this is nebulous at best. Why not just make him an ex-boyfriend or orphan she grew up with? Why not actually just make him the dad Gleb keeps referring to? Rasputin actually wants her dead and the story moves mostly because of his machinations behind the scenes. Gleb feels shoehorned into this narrative and he's not even entertaining while he's there. His songs are slow, repetitive and he has no real personality.
This is not the only change they made to the story. Vlad now has a mini subplot where he's trying to get back Sophie, now named Lily. This means she's in the story a lot more than she was previously and they don't succeed in making her less annoying. In film, a character can bounce in and out of the narrative without us questioning why they're not there. Theater is a bit different because you can't really have characters that just show up and never appear again. It's been done but usually they'll have the actor play a dual role in the story as well. Lily gets a lot more to do and I'm sorry but almost every song she gets besides the one from the film are also pee break songs. Land of Yesterday just feels like a Russian version of If I Knew Then from Beetlejuice but with much less relevance to the story. The Empress also gets a song now and while it's more memorable than any of the stuff Gleb or Lily get, there's no reason for it to be there. Some composers feel the compulsion to make every single emotional beat a song and while I understand that desire, you don't need it. Honestly my first time seeing the show, I started laughing when she busted out singing because it's so random. The original film got the point across without this and the musical does not expand on her character in any way so there's nothing new to communicate here. Maybe they felt the character should sing more but even without Close the Door, she gets some parts in other songs. This is an example of the fluff I was referring to earlier.
But for everything they added, they removed a lot of stuff but tried to play it down the middle. For example, in the film Rasputin tries to get Anastasia to kill herself by giving her an enchanting dream that turns into a nightmare. Demetri saves her life, she now has learned to trust him more and we move on. In the musical, Rapustin no longer exists but the scene does in a way. Now she has a nightmare about her family being killed where she Demetri comforts her as he does before but there's no narrative reason for this scene to be here. By this point, they've had more moments to build the romantic connection so it feels redundant. They also want to give us a reason to lead into the song where they realize they both know each other and that she's really Anastasia. It's a very flimsy setup and the film did this much better by having Demetri be the one who saved her life. It also undercuts his character development by a lot. There's no scene where he rejects the money. He doesn't have a personal connection to Anya or her grandmother like he did before. His character is neutered a lot in this version and doesn't come off as selfless as he did before. He turns down the money but not only does he have less of a reason to that now, that reveal feels much less powerful. His character isn't even involved in saving her life towards the end. While they do get more time to bond in this version, I just don't feel like they added enough to justify some of these changes.
I don't quite understand why they chose to go the route of realism with the musical. Maybe they're responding to people who thought the more fantastical elements were out of place but as we can see without that, the story doesn't have much of a reason to be a musical. There's an older movie version of this story with Ingrid Bergman that hits a lot of the same beats as the 90's version. That version is decidedly not a musical and also isn't that great of a film either. This isn't the easiest story to make compelling and the 90's version threaded the needle as best as it could. By using the story of Anastasia as more of a jumping off point for the type of fairytale musical audiences had become used to, it managed to make the story more removed from the actual real life Anastasia who did in fact die, although that was not known back then. The musical leans too much into the history and it just doesn't work. There are dark shows that deal with heavy subject matter. The Color Purple is basically just Beat My Ass: The Musical. But that show isn't also trying to be a romantic whimsical experience, Anastasia very much is. I wish they had just kept Rapustin, weaved him into the story more naturally and gave him a stronger personal connection to Anastasia and kept the darker non-history related elements in the show. The movie is plenty dark at times but the history and political struggle is given a passing mention in the opening and is rarely ever brought up again unless to refer to actual murders. The musical felt like Bridge of Spies set to music with how much focus they put on the political aspect of the story. That does not mesh and I think it's part of the reason why this show doesn't have as strong of a following as the film. It's not ungodly awful, but it doesn't justify its existence.
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Don Bluth made a name for himself primarily in the 80's after leaving Disney and creating his own animated films. His work was seen by many as anti-Disney because of the complexity of themes, darker subject matter and animation style that wasn't afraid to be uncomfortable or ugly. That's the general perception of his work but I'd also argue that the relationships between the characters in his films were much more fleshed out and complex than a lot of the stuff Disney was releasing at the time or after. Bluth wasn't afraid to have his characters be rude or mean or cowardly or insecure. The protagonist wasn't always a hero in the purest sense and oftentimes characters would act in a way we'd consider realistic. If they were in a scary situation, they'd run away or try to get out of it. If it was a situation that could benefit them, they'd try to profit to the fullest. Bluth placed his characters in worlds that were very mean and cruel but this only served to heighten the moments of joy and levity. As the 90's rolled on and Disney managed to climb back to the top of the mountain, Bluth did what he could to try to keep up. He didn't see a ton of success in the 90's largely because while at times he tried to ape the Disney formula, they still felt like watered down Don Bluth films.
Enter Lynn Arhens and Stephen Flathery.
In the 90's, these two were some of the biggest names in musical theater with projects like Once On This Island and Ragtime under their belts, to name a few. Lynn Arhens is actually a personal hero and inspiration of mine and oddly enough not for her theater work, although I'm a huge fan of that as well. I grew up watching Schoolhouse Rock as a kid and I actually learned how to write songs while watching those videos. Laugh all you want but you tell me how'd you explain something as complex as parts of grammar or the solar system or the revolutionary war in three minutes or less, for children no less. Her superpower is being able to explain a lot of information in a very short amount of time while having you sing along. Another thing she excels at is making songs the audience can actually leave the theater humming. That being said, it's worth contextualizing the world in which the bulk of their success was born.
Much like Democrats shell shocked by the Republican successes of the 90's, everyone not named Andrew Lloyd Webber was still in a state of awe and envy due to the massive success of Phantom of the Opera, Cats and Evita. The mega musical was born in the 80's and as we tap danced into the 90's, everyone else was trying to catch up. A characteristic of musicals from this era was that they all had that one big song they could perform just about everywhere to pull people in who otherwise may have never given the show a second glance. This was often the catchiest song in the show, oftentimes the opener, and the rest of the songs could range from equally good to songs you'd skip on the soundtrack. This is very much an approach that Arhens and Flathery would use and while I wouldn't say any of their songs were outright bad, there's often quite a bit of fluff. On the flip side, the 90's Disney animated musicals maybe had 5 to 7 songs and there was definitely an economy of time at play here. Today an animated film can be two hours, in the 90's this was far from the case. Every song needed to have a specific function within the story and character development. Rarely would you get songs that are just there to be there. Les Poissons is an example of this. The court of miracles and gargoyles number from Hunchback are also examples. But usually the stronger films like Aladdin, Beauty and the Beast, The Lion King etc were very careful about how many songs and where they were placed. In theater, you can cut and remove songs during previews or even during the run of the show. Outside of doing test screenings, film doesn't really afford you this unless you're early enough in production that the changes can be done in a reasonable amount of time. It's not like Disney could've released a new version of Hunchback as it was in theaters if audiences weren't responding to A Guy Like You. All of this is important because while Don Bluth was very much aping Disney's style at the time, it was clear he was trying to bring elements of the theater to the film as well.
Anastasia the film for all its flaws, and we'll get to those, is a pretty tight narrative and nearly every single song serves some sort of narrative or character based purpose. If a character is singing there is a reason why and that character is important in some way. A big part of the reason why it works is because while it's definitely inspired by The Mouse's then current offerings, it still very much feels like a Don Bluth film. The concept of even turning this story into a musical is very off-beat and in-tune with what Bluth would normally make. I can't imagine Disney making The Secret of Nimh but I can imagine Bluth trying and succeeding at making The Black Cauldron. I really don't see Disney ever making a film like All Dog's Go to Heaven but I can definitely see Bluth doing something really interesting with The Great Mouse Detective. His style is dark and evocative and isn't afraid to make you deeply uncomfortable or sad. Anastasia definitely toes the line but there's sequences in there I just cannot imagine Disney ever doing. The sequence for Once Upon a December is so haunting, melancholy, deeply sad and yet hopeful. Anything having to do with those weird demon things, especially when they try to get Anya to commit suicide, is something Eisner would never let his animators do. At the same time, the relationship between Anya and Demitri feels less like a fairytale romance but honestly like a 90's Meg Ryan romcom. They argue like normal people. They joke with each other like an actual couple would. They feel very realistic and realistic relationships between characters is something Bluth excels at. Because the worlds he creates are usually pretty ugly in some ways, it allows for the relationships to be more grounded. You wouldn't but Anya falling for Demitri in a day like Ariel did for Eric because the world the former couple inhabits feels harsher and therefore the characters have more grit. That being said the film does have flaws that become very relevant once we start talking about the stage version:
1) The villain does not feel properly integrated into the story. Most Disney villains had some kind of relationship with the protagonist that sets the main conflict into motion. Ursula is the one who conducts the spell. Scar is both Simba's uncle and kills Mufasa. Jafar is the first main character we ever see and he's the one who finds Aladdin. Rasputin is in the opening and he does set up the main conflict but there's no relationship between him and the protagonists. They don't even know he's alive until the last ten minutes of the film. He impact the narrative but he definitely could have been woven into the narrative more. I think confining him to the underworld was a mistake. With some slight reworking, you could have had him appearing as some of the randos Anastasia meets along her journey or even have the orphanage owned by him a la Mister Sinister. The setting and time period feels more like a suggestion than any sort of adherence to historical accuracy so they could've gone wild.
2) Most of the stuff in Paris feels like a completely separate movie. The last song we get is Key to Your Heart, which is also the closest we get to fluff, and there's no song within the film proper until after that. At the Beginning absolutely slaps but it should've been in the actual film. Everything after Sophie's song is fine but the film takes on a much more serious and grounded tone until Rasputin decides to remind us he's in the movie. The somewhat surreal tone and the momentum the film had comes to a screeching halt once we get to Paris. That being said, it's still a very good portion of the film but it doesn't really match with anything else in the first two acts.
3) Rasputin's motivations aren't entirely clear. He's still alive because the curse hasn't been fulfilled, I think. He wants to die forreal but that only happens if Anya is offed and even then that's ambiguous. Does he wanna die? Does he wanna be human again? Did he want power of any sort? If he wants to fulfill the curse to move on, we see he bites the dust quite literally once Anya breaks the glowing thingy anyway. It's a cartoon so you could say don't think too hard about it but the logic falls apart the exact second you analyze it. Why not have Bartok just smash the thing once he realizes it's still active? Why does Rasputin want the Romanovs dead so damn badly? His reasonings aren't explained well in the beginning so his actions feel more like an act of interia that anything else.
4) The side characters are kinda annoying. Vlad is mostly okay because he serves a definite role in the story as playing the more level headed one to Demitri's more fiery personality. Sophie starts to grate on my nerves but whenever she does they shunt her out of the film. The mandatory cute animal sidekicks range from irritating to please make it stop.
For what it's worth, the stage adaptation exercises both animal sidekicks largely be consequence of this version trying to be more historical fiction rather than a Disney Renaissance style musical. That brings us to one of the biggest and most controversial changes in the stage version, Gleb. He's a Russian officer who is torn between his feelings for Anya and his duty to the cause. He replaced Rasputin as the main threat. With Gleb, they do rectify points 1 and 3 but this is not without losing much of the energy Rapustin injects into the piece. For all his faults, Rasputin and his weird demon things move shit from Point A to Point B while also being very entertaining at the same time. Gleb has more of a motivation than Rasputin but the story comes to a screeching halt whenever we have to focus on him. He is in love with Anya because she's hot I guess and we get so many songs of this dude belting for the gods about how much he wants her but he can't pursue her. There are a total of three songs counting reprises that are dedicated to this and they're basically all the same. Gleb wants to bone, he has daddy issues and we move on. He interacts with her more but there is no reason he should be this blue balled over a chick he does not know. Anya and Demitri still have great chemistry and the plot is reworked to give them more time together. I like their dynamic more in the film but the musical does this fine but just differently. Anya doesn't really even know Gleb nor that he wants to see if the curtains match the drapes. So we're stuck in this completely unnecessary lopsided love triangle that makes Wolverine, Scott and Jean Grey's bullshit seem like Shakespeare. There is almost zero evolution within Gleb's many croons about how much he wants to bang this chick. He comes to basically the same revelation every single time so whenever he gets a song it's basically time for a pee break. Unlike Rapustin who at least gets an entertaining last fight and death, Gleb doesn't really even get that. He corners her, she goes full on Malala and tells him to do what he's gotta do, he chickens out and dips. They try to give it some weight by having Anya comfort him but she doesn't know this man and she certainly doesn't know he's in love with her. It feels even less powerful than the original ending because at least Rasputin actually killed her family so there's some connection there. Gleb is the son of the guy who was involved so his connection to any of this is nebulous at best. Why not just make him an ex-boyfriend or orphan she grew up with? Why not actually just make him the dad Gleb keeps referring to? Rasputin actually wants her dead and the story moves mostly because of his machinations behind the scenes. Gleb feels shoehorned into this narrative and he's not even entertaining while he's there. His songs are slow, repetitive and he has no real personality.
This is not the only change they made to the story. Vlad now has a mini subplot where he's trying to get back Sophie, now named Lily. This means she's in the story a lot more than she was previously and they don't succeed in making her less annoying. In film, a character can bounce in and out of the narrative without us questioning why they're not there. Theater is a bit different because you can't really have characters that just show up and never appear again. It's been done but usually they'll have the actor play a dual role in the story as well. Lily gets a lot more to do and I'm sorry but almost every song she gets besides the one from the film are also pee break songs. Land of Yesterday just feels like a Russian version of If I Knew Then from Beetlejuice but with much less relevance to the story. The Empress also gets a song now and while it's more memorable than any of the stuff Gleb or Lily get, there's no reason for it to be there. Some composers feel the compulsion to make every single emotional beat a song and while I understand that desire, you don't need it. Honestly my first time seeing the show, I started laughing when she busted out singing because it's so random. The original film got the point across without this and the musical does not expand on her character in any way so there's nothing new to communicate here. Maybe they felt the character should sing more but even without Close the Door, she gets some parts in other songs. This is an example of the fluff I was referring to earlier.
But for everything they added, they removed a lot of stuff but tried to play it down the middle. For example, in the film Rasputin tries to get Anastasia to kill herself by giving her an enchanting dream that turns into a nightmare. Demetri saves her life, she now has learned to trust him more and we move on. In the musical, Rapustin no longer exists but the scene does in a way. Now she has a nightmare about her family being killed where she Demetri comforts her as he does before but there's no narrative reason for this scene to be here. By this point, they've had more moments to build the romantic connection so it feels redundant. They also want to give us a reason to lead into the song where they realize they both know each other and that she's really Anastasia. It's a very flimsy setup and the film did this much better by having Demetri be the one who saved her life. It also undercuts his character development by a lot. There's no scene where he rejects the money. He doesn't have a personal connection to Anya or her grandmother like he did before. His character is neutered a lot in this version and doesn't come off as selfless as he did before. He turns down the money but not only does he have less of a reason to that now, that reveal feels much less powerful. His character isn't even involved in saving her life towards the end. While they do get more time to bond in this version, I just don't feel like they added enough to justify some of these changes.
I don't quite understand why they chose to go the route of realism with the musical. Maybe they're responding to people who thought the more fantastical elements were out of place but as we can see without that, the story doesn't have much of a reason to be a musical. There's an older movie version of this story with Ingrid Bergman that hits a lot of the same beats as the 90's version. That version is decidedly not a musical and also isn't that great of a film either. This isn't the easiest story to make compelling and the 90's version threaded the needle as best as it could. By using the story of Anastasia as more of a jumping off point for the type of fairytale musical audiences had become used to, it managed to make the story more removed from the actual real life Anastasia who did in fact die, although that was not known back then. The musical leans too much into the history and it just doesn't work. There are dark shows that deal with heavy subject matter. The Color Purple is basically just Beat My Ass: The Musical. But that show isn't also trying to be a romantic whimsical experience, Anastasia very much is. I wish they had just kept Rapustin, weaved him into the story more naturally and gave him a stronger personal connection to Anastasia and kept the darker non-history related elements in the show. The movie is plenty dark at times but the history and political struggle is given a passing mention in the opening and is rarely ever brought up again unless to refer to actual murders. The musical felt like Bridge of Spies set to music with how much focus they put on the political aspect of the story. That does not mesh and I think it's part of the reason why this show doesn't have as strong of a following as the film. It's not ungodly awful, but it doesn't justify its existence.
2024.05.17 04:33 Mista9000 Perfectly Safe Demons -Ch 39- Sundresses at Night
Chapter One
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Prev
-Rooftop of the White Flame Factory-
Grigory smiled nervously at his men as they lounged on the rooftop patio. As the sun sank lower, he was happy to see them relax after the day's tensions. He’d wanted to give them their imps when they first arrived, or after the demonstration, but they seemed a little too skittish. Their reactions were causing him to doubt his strategy. If his most loyal supporters were repelled by them, wider acceptance was going to be a non-trivial hurdle. He’d been working on an improved version of the imps for months, but making them less threatening, or light forbid, ‘cute’, seemed deeply at odds with his plans. He hoped time might be the missing ingredient. Once they get a bit more familiar with them, they’ll come around. The imps were really nothing for them to fear.
The demonologist sat alone, observing how his men were dealing with the news. He was deep in thought, adjusting his plans and ruminating on his concerns. Was he forcing them to do things they weren’t comfortable with? The basis of his entire plan was that the whole world was to benefit from the imps, so it had to start somewhere, or he might as well give up. They seemed to be taking it as well as he could have hoped.
Catching a wisp of savoury smells, he thought it was scarcely fair to relax while Stanisk was busy in the kitchen. He rose to see if he could lend a hand with dinner. During their overland trek to the capital months ago, it was clear that Stanisk was a superlative cook, but Grigory was a dexterous helper. Much of what he knew about surgical techniques had been picked up preparing meals.
Grigory arrived at the great hall that served as the eating area. In the centre of the chamber, two long tables stretched across the room, capable of seating fifty, though only four simple chairs he had crafted a few weeks ago were present. His men had yet to grasp the potential of the imps' labour; instead of proper seating, they had improvised with crates and timbers haphazardly arranged around the tables. Near one table, a jute sack of potatoes lay abandoned on the floor, possibly mistaken for a makeshift seat. Grigory hoped they'd be eating the potatoes, not sitting on them.
Separated from the hall by a low half-wall, the kitchen bustled with activity. Stanisk sat on the thick timber counter, a casual sentinel over dinner’s preparations, while Jourgun and Klive stood nearby, deep in conversation with their commander.
Stanisk’s five imps, in their fancy clothes, dashed around the kitchen. Under his expert guidance they were preparing a grand feast. One was peeling potatoes, another stirred a great bubbling pot, while two were doing dishes.
“Sir, did you know that Stanisk’s imps have names? And fancy clothes! Can I have one like his?” Klive blurted when he saw his employer. “Uh, as it pleases milord, of course.”
“Plus mine bow when they bring us beers! They don't do that fresh out of hell!” Stanisk's toothy smile implied he might have been bowed at by imps a half dozen times already.
Grigory tilted his head and blinked for a second.
Surely a bit of clothes can’t have that much of an impact on their acceptance?
“Oh, Of course! Certainly!” he paused again. “Feel free to ask Stanisk for tips on how he made his.” Observing the bustling activity, “It looks like dinner is well in hand?” The kitchen was huge, far larger than the one at Planed Pine Peak Inn. A half dozen dishes simmered or baked, their aromas — exotic spices, rich gravies, and roasted meats filled the expansive space.
Stanisk replied without glancing away from the imps handling the tasks. “Well in hand, boss. Take ‘er easy tonight!” The imps' movements were quick and fluid, their antics distractingly comical at times. Grigory watched, smiling, as one imp hugged a yam to its chest that likely weighed more than it did, and made its way along the countertop from the vegetable sack to the cutting board. Each step was an exaggerated sway, the creature was badly top-heavy and teetering.
With effort he pulled his focus back, “Capital! I’ve a matter to attend to! Smells great already!”
Grigory went into the factory proper to whip up enough chairs for everyone. Simple wooden ones for now, but with cushions. Cushions were quick enough to make and he had a few cart loads of wool and woollen fabrics. He watched his imps work, glad he could share them with his whole team now. Obviously it made everything a bit riskier, but it was worth it. One of his concerns was that he’d been overlooking opportunities and uses. He was bound by only being able to think his own thoughts, so he was excited to see what non-demonologists would think of.
They carved and joined the pine chairs with their normal speed and accuracy, but watching them sew was its own reward. The imps wielded needles like longswords in their tiny hands, the points moving too fast to see clearly. They stacked up the plain cushions in a neat pile at the end of their low workbench.
He also didn’t have any utensils, placemats, serving spoons nor trivets either, since this was their first proper meal here. He commanded the imps to make those as well, and carry them like a row of ants from the workshop to the dining hall. The demonologist walked around the table, surveying his work. With a minor gesture of flame he lit the lamps, and frowned at the beige-grey of undyed wool of the chair cushions.
He pulled the chairs out, and one at a time enchanted the cushions to bright, cheerful colours. He was going to make them all company purple, but thought better of it. Enchanting colours was a fun spell to cast, because the act of changing its colour also unravelled enchantment as it went. Much like building and knocking over houses of cards, the end effect was a mundane unenchanted object, but in whatever colour he’d chosen. Having done the spell countless times for entire days to prepare for the midsummer tourney, he didn’t even have to check his notes for any of the hues.
Satisfied with his work, though slightly frustrated that his first and last red cushions weren’t quite the same shade, he sat down. He pulled a notebook out of his satchel and started making notes on his ideas for some improvements, mostly for his own use, but some to the things he’d be soon selling. Lost in his own world, he had no idea how much time had passed when Ros and Taritha joined him at the table.
“Good evening, milord,” Ros said deferentially.
The young herbalist elbowed him, “Come on, he had one rule! He was writing!”
“Oh! Terribly sorry, sir!” Ros stammered.
“Not at all, I was basically doodling. How’s your evening going, is everything to your liking?” Grigory closed his notebook and put it away.
“Amazing milord, These rooms are huge! They're bigger than some of the houses I was looking at!” Taritha said.
“Of course! No one wants to live in dingy cells! Glad to hear! It’s easy to make a place bigger when you are building fresh. Let me know if you find anything that needs fixing, our builders are still in town working on the harbour fortress now, but I can have them send someone if there is anything amiss!”
“I don’t reckon neither of us knew palaces this nice existed anywhere, milord!” Ros said with a shrug. “We might not be the best eyes for finding faults!”
“Heh! This is just the rustic first stage! Don’t worry about its crudeness for now, we’ll get there over time!” the demonologist promised, patting his satchel where the notebook of ideas was. His confidence was both unshakeable and unnecessary.
“Not to question your plans, but there are a lot more rooms than people. Are we expecting company? Are we hiring?” Taritha asked. Her eyebrows twitched slightly, having just questioned his plan for the first time.
“Big plans indeed! So that empty stretch east of the main building? That’s also part of our land grant. In a while we’ll be building a barracks there for our troops, while senior officers will stay in the main factory. That’s also why Stanisk will be taking a much more active role with civil defence. It’s central to our plan to secure the town, and by extension our own safety.”
“Our troops? Like us?” Jourgun asked, having joined them at the long table.
“Maybe? Probably not? We’ll see. The plan is to extensively recruit as we can afford it, since the pirate raid was just the beginning. We have something of incredible value, in the form of me, the imps and the factory itself. Many violent people feel they should possess every valuable thing, so we must be vigilant. Not to worry though! That’s just us planning for the worst. In reality, nothing like that will likely happen. Just by being well defended we’ll scare off the greedy.”
“Ah, like why it's dangerous for a beggar to wear a silk robe!” Rikad added as he joined them, along with a few others. The smells from the kitchen were intoxicatingly rich now, as Stanisk and Klive used the imps to finish and plate the meal.
“Just so, a lord can only have what he can defend, and because the first phases of my plan require a certain level of material wealth, I’ll need extensive defences,” Grigory explained as diplomatically as he could.
“The Empire itself will fear our might, milord!” Ros said excitedly.
“Nah, it won’t. That’s a dangerous thought. The Imperial army’s smallest deployable force is a legion, near enough to five thousand men. Even if we hit every hiring and training target, we’se not going to be in the business of fightin’ wars. Just enough to make us a spiky nut. The sort not worth chompin’,’” Stanisk called over from the kitchen.
“Oh,” Ros said, shrinking back into his seat.
“That’s more than all the men in the whole town!” Taritha lamented.
“Yeah, that’s why lil fishing villages don’t win wars. A legion is five thousand infantry with warships, supplies, siege cohorts, and command companies. If’n it’s a real fight, then they might deploy all ten Imperial legions. Then start raising more if’n they’re losing. We ain’t never gonna try to fight that. No nation in the world has ever picked that fight and won.”
To counter the grim tone settling over his celebratory dinner, Grigory chimed in with a reassuring smile, “We’re loyal Hyruxian subjects, and the legions protect us. We pay taxes in full, we’re on the right side of all this. We just want a bit of security against more, uh, regional actors. Besides, a large well equipped force lends our diplomacy weight we wouldn’t otherwise have.”
Now that the table was filling up and his men looked satisfied with his answers, he raised his voice to the kitchen, “How’s it going in there?”
“Good! I bought a deer from one of the hunters this morning, and it turned out just right!” Stanisk replied, personally putting the finishing touches on his creation. Aethlina moved across the kitchen to watch Stanisk work, making Grigory do a double take. He hadn’t realised she was even in the building.
“Oh! Capital! Everyone in the entire company is here now! Even better!” Grigory said, motioning Aethlina to sit by him. He was glad he’d made the full number of chairs!
Stanisk and Klive brought out plates heaped with slices of braised venison, steamed tubers and sautéed onions. Tubs of butter, bowls of gravy, and finally a heaping basket of fresh buns followed. Stanisk took his seat and, smiling with pride, “What’re you helpless kittens lookin’ at? Never seen dinner ‘afore? Dig in!”
The feast was a perfect end to a troubling day, and even though the conversation died down as they ate, Grigory observed every single one of his hirelings intently, relieved to see not a single one seemed put off by a meal made by demons. Catching Stanisk’s eye, he made an empty cup gesture.
“Imps! Bring us all some drinks! Wine, beer and water!” Stanisk shouted to his imps. With speed and efficiency, the little demons filled clay cups and brought everyone three drinks, exactly as ordered.
“Ah, dammit, I meant—It’s fine. Drink what you want and I’ll just dump the rest!” The chief of security’s good humour faded for an instant before returning twice as bright.
“No, I love having three drinks! And the water and beer are cold! In the summer! The gods themselves envy me!” Rikad declared.
“Uh oh! It looks like Mage Thippily made imps, but the imps made the real monster!” Kedril retorted, gesturing at Rikad holding three cups between his hands, rotating them to drink out of each, while spilling beer all over his own arm.
Their high spirits encouraged Grigory. He’d worried they would be morose and frightened tonight, after making them to live in what could be described as a hive of demons. Joking about the imps was beyond his expectations, so he smiled without speaking, sipping his red wine. Not his cherished Malaentian Red, but a nice varietal from the mainland he’d recently imported a few cases of. Once the plates were empty, Stanisk had the imps clear the table and start washing up while everyone remained seated at the long pine table, bellies full to bursting.
“That was spectacular Stanisk! Thank you!” Grigory offered, and everyone else chimed in a breath later.
“Nothing like a lifetime of bland ration bars for months to really spark an interest in what good food ought to be! I’m glad ya’se liked it,” the big veteran said dismissively.
“How is everyone finding their new accommodations? I know I don’t have all the furniture done just yet, but is everyone good for tonight?” Grigory asked, ever the eager host.
The men nodded and looked at each other. Complaining was frowned upon and nothing here was remotely a hardship.
“Capital! Glad to hear it, and by all means bring it to my attention if your needs are unmet!” Grigory sat still and everyone kept looking at him.
Now’s as good a time as any. It’s not even a surprise, I think I mentioned it a few times already.
“Ahem! So! I’d like to present each of you with your own imps! Some ground rules though; there may be people that aren’t ready for this style of magic, so I ask that you don’t mention anything about them anywhere outside of the factory. Or even imply there are any magical creatures, just that things get made here?”
He waited until they all at least nodded.
“Alright! Here you go, I have one for everyone! The imps are identical, so don’t worry about which ones you get. Um. Good luck?” With a shrug he reached down beside his chair and from a leather case he pulled a series of carved wooden boxes, and passed them out to everyone sitting at the table.
***
With a muted clatter, Taritha watched as the small dark boxes were distributed. She wasn’t sure if there was one for her, being fairly new to the company. She wasn’t sure how she felt; owning demons seemed like a big step, but the ancient urge to possess something nice or powerful was one she wasn’t immune to. Her heart leapt as a heavy box slid in front of her.
With trepidation, she touched it with one finger; it appeared to be regular wood, perhaps stained oak. The box was small and rectangular, quite thin, and she held it easily in one hand. It was narrow enough to fit comfortably between her thumb and fingers, its weight noticeable but not oppressive. She had expected dread, palpable evil, or something, but it just felt a bit heavy. Turning it over, she saw no visible clasps or hinges. The outside was covered in the flawless ornate carvings she was starting to grow familiar with. This time, the carvings depicted joyful industrial scenes—strong men swinging square hammers, smoke stacks, and laden ships and carts. The central image on each side was gilded with gold leaf, making it strikingly dignified.
Ignoring the excitement and increasing movement around her, she felt as if she were in her own universe. She slowly pulled on the lid, finding it opened on tiny hidden hinges, revealing three ebony totems inside. They were the size and shape of a fairytale wand, resting on a bed of lush green velvet, held in place by a broad ribbon tied in a perfect bow.
Even without considering the priceless nature of the artefacts, she was impressed, almost distracted, by the quality of the presentation. He didn’t have to go to such lengths; she’d expected them to be simply handed to her.
She slid one of the totems out without undoing the bow. It was cool and heavy but otherwise seemed normal. She could see layers of impossibly fine carving, this time gilded with silver. She could sense the potent magic in the object, but it felt strange. She’d examined other enchanted items before, and their enchantments were all transcendently beautiful in a complex and technical way. This was so dense it felt like nothing. Or perhaps everything? She wasn’t sure, but it wasn’t at all like the other objects. Stilling herself and trying to puzzle out its secrets brought her no closer to any revelation. She shook her head and resolved to investigate further in private. She returned the totem to its place in the box and gently closed it.
Only now did she notice the table was thick with imps, more than twenty darting and leaping energetically. Her colleagues had summoned theirs and were already giving orders.
“You two, throw the third imp as high as you can!”
“Merp!”
“All of you, cross the table as fast as you can, but walk on your hands!”
“Merp!”
“Duel with these forks!”
“Merp! Merp!”
The men were laughing and pointing between shouting out fresh orders. All the commands were pointless and frivolous, making Taritha powerfully uncomfortable. These were forces of nature, extraplanar beings of unimaginable power, and they were being made to sprint into empty mugs to see how far the mug would fly!?
She shot a questioning look to the master demonologist to gauge his reaction. He was smiling and complimenting their creativity, so maybe she was overreacting? Still, she had no interest in wasting them on silly games. Emergencies only. Or at least serious concerns only. Not for dodging knotted linen napkins, that’s for sure!
With the burden of responsibility successfully dodged, she was free to watch everyone else’s fun. The cacophony of excitement was so infectious that she found herself giggling and pointing at them racing as makeshift horses, with an imp bent over holding the tiny waist of the imp in front of him, while a third one sat atop as a rider. They were so silly looking and energetic.
“You’re sure this doesn’t hurt or anger them?” Taritha asked.
“Oh my no, it’s not like that at all. They have minds, but lack awareness, or awareness of their own mind I guess? It’s fine! They are just made out of the same stuff as demons, but not actually demonic.” The mage stood up and stretched. “They are remarkably durable, it’s unlikely anything short of silvered steel will harm them. I, on the other hand, am at risk of being badly over-tired already! I trust you will be okay, left on your own! I’ll see you in the morning!”
“I’se properly tired too, but if you want, let's pop into the factory and I’ll show you how to get them to make their own clothes. It’s just tellin’ ‘em to do that, so you’se might not need too much hand holding!” Stanisk pushed himself away from the long table, and motioned for them to follow him.
They went into the cavernous factory, just across the hallway. What was an impressive and huge room in the daylight was now an infinite blackness, like a starless night. A few men had grabbed leviathan-oil lamps off the table, and they huddled in a small circle of warm, safe light. They gathered around a long low table, and Stanisk laid out a few bolts of fabric. The fine weaves were familiar to Taritha; they were the same as those used in the clothes she’d been getting from the company.
“It’s simple enough,” Stanisk said as he put a heavy leather bag of tools on the table. “Just say what you want, with as much or as little detail, and they’ll just make that.”
“Imps, make a suit of legion plate armour, imp-sized, out of shoe leather!” Rikad said with glee.
“Merp!” replied several at once, as they began cutting and forming the leather without hesitation. The imps even used grey wool for the under-mail parts, and tiny flares of hellfire to warp the leather into the right shapes. Soon, a tiny suit of black armour lay on the table, looking like what an imperial heavy infantryman would wear, but distorted to the proportions of the gawky imps.
“I dub thee, Imperial commander, Real Imp. Don thy armour!” Rikad ordered. “Do they remember their names?” he asked over his shoulder to Stanisk.
“Oh yeah, they’re proper sharp!” he confirmed.
“Create an imp-sized lord's robe with a sash of office! When it is done, you shall be known as D’Imp Lomat! I might need a minute to think of the last one though…” Rikad said to everyone watching his imps.
Reluctantly, Taritha opened the box and invoked her three imps. She looked at them closely; as far as she could tell, they were perfectly interchangeable with every other imp.
Looking over the fabrics, she chose a striking blue, a deep red, and a golden yellow. “Imps! Make imp-sized sundresses, mainly white with these colours as a main theme. and matching coloured sun hats,” she added hastily. Their heads were distractingly inhuman, so covering them might help. She watched them work, even interrupting a few times to ask for embroidered details and minor adjustments. Once they finished, she had them don their new outfits.
Oh! The hems seem scandalously short on their long lanky legs! Better than before, but not by a lot.
“Imps, please put on the hats that match the colour of your dress.”
“Merp.”
Much better! They look like ladies now!
“You are now Lady Bluebird, Lady Crossbill, and…” She paused at the last one, thinking of songbirds that were as bright yellow as the fabric. “Miss Goldfinch!”
She leaned back and admired her little ladies. They were far less threatening now, and their dull crimson skin really made the dresses look extra vibrant.
“Dang Taritha, how did you make yours so pretty? I want some pretty ones!” Jourgun commented as he looked over.
“Drool over your own demons! These are mine!” she said playfully. There was an undercurrent of possessiveness that she didn’t expect, but these ones were hers now. “Anyways, I’m going to bed too, you guys are too slow! Have fun, boys!” she said as she devoked her imps. The new clothes fell to the work surface.
“Oh yeah, they don’t take that with ‘em, wherever they go, so just keep it in a lil bag or whatever,” Stanisk said when he saw her distress. “They gotta get dressed every time you invoke it,” he shrugged.
So much to learn today!
With a brave smile, she replaced the totems in the box and gathered the dresses and hats. “Mind if I take…” she said as she slowly lifted a lamp from near Rikad.
“Oh yeah, all yours,” he said dismissively, fully engrossed in examining the tiny lordly robes of D’Imp Lomat.
She went back to the hall, up the wide even stairs to the third floor. She’d only spent a bit of time investigating it earlier, as she and Ros had been anxious about being late for dinner. She saw the heap of her worldly possessions against the wall where she’d left them. The only furniture here was the bed, but by the sounds of it, getting some tables, chairs, and wardrobes would be easy enough tomorrow. She placed the totem box and the tiny outfits on the floor beside the bed.
The bed itself was unlike any she’d ever heard of. Crafted with thick pine beams and topped with a mattress of imported cotton, it was probably wider than her entire hovel. A family of five could sleep on it and barely touch. She couldn’t imagine a more lordly bed. Its refined look and the luxurious softness were worlds apart from the coarse fabric and straw she was used to. Sometimes in the fall, she’d add freshly fallen leaves to her straw mattress for extra comfort, but that was a fleeting pleasure. This bed, however, promised constant comfort. She eyed the pile of heavy blankets at the foot of the bed. Recently, she had bought a single blanket from the market, thin and scratchy, but these were the mage’s blankets—thick, plush, and impossibly soft.
She shut the heavy door and took off her tall boots. The floor felt smooth under her bare feet. Even having a floor was a new luxury; she was accustomed to hard-packed dirt floors like most everyone else. This wasn’t just a floor; it was a delicate herringbone pattern of different kinds of wood, obviously done by the agile imps. It was cleaner, smoother, and more level than any table she’d eaten off before the mage came to town.
She stopped admiring the floor and stripped to her shift. She felt exposed being so undressed around so many men. She reasoned it out—the iron and oak door was stronger than a hide flap, and this would doubtlessly be the safest sleep of her life. Just a reaction, not a reality. She left the lamp on the floor and got in bed.
With a panic, she yelped as the whole bed flowed underneath her, as if she’d stepped on the tail of a sleeping cat. She tried to get up but her feet were already off the floor, and she couldn’t find a stable purchase with her hands. She froze up to think her way out of it, and the bed stopped moving almost as soon as she did.
Her heart pounded in her chest.
Was this an enchantment gone awry? Some bed demon?
Slowly, she log-rolled towards the edge of the bed, and the mattress under her also slowly moved, but not enough to stop her. Slow and steady, she might get free yet. Finally, she was close enough to put a foot down and stand. The bed flowed back to being perfectly flat.
She stood up, with a hand to her sternum, trying to catch her breath.
Think! What did the mage say about this today? It would magically adjust? Maybe that was all it was doing?
She leaned over and gently pushed down with a single fist. It was super pliable, then increasingly firm. But it felt unlike anything else—stacks of clothes or hides all felt different when they got pressed.
It must be magic. No time to be timid, and it would be humiliating to go to either the mage or the chief about this.
The only spell she could reliably cast was a gesture of Mana-Visualization. It caused the invisible lines of arcane energy to glow visibly, in bright colours that hinted at their use and purpose. She cast it to better examine her bed. It wasn’t enchanted as she expected; rather, hundreds and hundreds of things inside it were, and they linked and overlapped in ways she wouldn’t understand if she studied enchantments for a decade. She involuntarily took a step back from it, like finding a hundred warhorses inside a small cabinet.
She dismissed the gesture. With renewed determination, she slowly sat down on the bed. It shifted but only a bit. It was very soft and comfortable. Slowly, she turned and laid back, fighting her panic as the mattress kept shifting everywhere her body touched it, unnervingly lifelike. Fully laying down, she stopped and the mattress stopped. Even as her eyes were still wide with terror, she started to calm down. To test her theories, she rolled onto her side, and the mattress under her hip grew softer, and the part under her ribs grew firmer, until the pressure equalised. Rolling back, she felt it shift again, and once more the mattress's firmness changed all up and down her body, stopping once it was the same shape as her body’s pressure, resulting in sublime comfort.
Oh. This is incredible. I get it now!
She reached to the foot of the bed, pulled one of the soft blankets up to her chin, reached down to extinguish the lamp and drifted off into a better sleep than anyone in the history of her family ever had.
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-Rooftop of the White Flame Factory-
Grigory smiled nervously at his men as they lounged on the rooftop patio. As the sun sank lower, he was happy to see them relax after the day's tensions. He’d wanted to give them their imps when they first arrived, or after the demonstration, but they seemed a little too skittish. Their reactions were causing him to doubt his strategy. If his most loyal supporters were repelled by them, wider acceptance was going to be a non-trivial hurdle. He’d been working on an improved version of the imps for months, but making them less threatening, or light forbid, ‘cute’, seemed deeply at odds with his plans. He hoped time might be the missing ingredient. Once they get a bit more familiar with them, they’ll come around. The imps were really nothing for them to fear.
The demonologist sat alone, observing how his men were dealing with the news. He was deep in thought, adjusting his plans and ruminating on his concerns. Was he forcing them to do things they weren’t comfortable with? The basis of his entire plan was that the whole world was to benefit from the imps, so it had to start somewhere, or he might as well give up. They seemed to be taking it as well as he could have hoped.
Catching a wisp of savoury smells, he thought it was scarcely fair to relax while Stanisk was busy in the kitchen. He rose to see if he could lend a hand with dinner. During their overland trek to the capital months ago, it was clear that Stanisk was a superlative cook, but Grigory was a dexterous helper. Much of what he knew about surgical techniques had been picked up preparing meals.
Grigory arrived at the great hall that served as the eating area. In the centre of the chamber, two long tables stretched across the room, capable of seating fifty, though only four simple chairs he had crafted a few weeks ago were present. His men had yet to grasp the potential of the imps' labour; instead of proper seating, they had improvised with crates and timbers haphazardly arranged around the tables. Near one table, a jute sack of potatoes lay abandoned on the floor, possibly mistaken for a makeshift seat. Grigory hoped they'd be eating the potatoes, not sitting on them.
Separated from the hall by a low half-wall, the kitchen bustled with activity. Stanisk sat on the thick timber counter, a casual sentinel over dinner’s preparations, while Jourgun and Klive stood nearby, deep in conversation with their commander.
Stanisk’s five imps, in their fancy clothes, dashed around the kitchen. Under his expert guidance they were preparing a grand feast. One was peeling potatoes, another stirred a great bubbling pot, while two were doing dishes.
“Sir, did you know that Stanisk’s imps have names? And fancy clothes! Can I have one like his?” Klive blurted when he saw his employer. “Uh, as it pleases milord, of course.”
“Plus mine bow when they bring us beers! They don't do that fresh out of hell!” Stanisk's toothy smile implied he might have been bowed at by imps a half dozen times already.
Grigory tilted his head and blinked for a second.
Surely a bit of clothes can’t have that much of an impact on their acceptance?
“Oh, Of course! Certainly!” he paused again. “Feel free to ask Stanisk for tips on how he made his.” Observing the bustling activity, “It looks like dinner is well in hand?” The kitchen was huge, far larger than the one at Planed Pine Peak Inn. A half dozen dishes simmered or baked, their aromas — exotic spices, rich gravies, and roasted meats filled the expansive space.
Stanisk replied without glancing away from the imps handling the tasks. “Well in hand, boss. Take ‘er easy tonight!” The imps' movements were quick and fluid, their antics distractingly comical at times. Grigory watched, smiling, as one imp hugged a yam to its chest that likely weighed more than it did, and made its way along the countertop from the vegetable sack to the cutting board. Each step was an exaggerated sway, the creature was badly top-heavy and teetering.
With effort he pulled his focus back, “Capital! I’ve a matter to attend to! Smells great already!”
Grigory went into the factory proper to whip up enough chairs for everyone. Simple wooden ones for now, but with cushions. Cushions were quick enough to make and he had a few cart loads of wool and woollen fabrics. He watched his imps work, glad he could share them with his whole team now. Obviously it made everything a bit riskier, but it was worth it. One of his concerns was that he’d been overlooking opportunities and uses. He was bound by only being able to think his own thoughts, so he was excited to see what non-demonologists would think of.
They carved and joined the pine chairs with their normal speed and accuracy, but watching them sew was its own reward. The imps wielded needles like longswords in their tiny hands, the points moving too fast to see clearly. They stacked up the plain cushions in a neat pile at the end of their low workbench.
He also didn’t have any utensils, placemats, serving spoons nor trivets either, since this was their first proper meal here. He commanded the imps to make those as well, and carry them like a row of ants from the workshop to the dining hall. The demonologist walked around the table, surveying his work. With a minor gesture of flame he lit the lamps, and frowned at the beige-grey of undyed wool of the chair cushions.
He pulled the chairs out, and one at a time enchanted the cushions to bright, cheerful colours. He was going to make them all company purple, but thought better of it. Enchanting colours was a fun spell to cast, because the act of changing its colour also unravelled enchantment as it went. Much like building and knocking over houses of cards, the end effect was a mundane unenchanted object, but in whatever colour he’d chosen. Having done the spell countless times for entire days to prepare for the midsummer tourney, he didn’t even have to check his notes for any of the hues.
Satisfied with his work, though slightly frustrated that his first and last red cushions weren’t quite the same shade, he sat down. He pulled a notebook out of his satchel and started making notes on his ideas for some improvements, mostly for his own use, but some to the things he’d be soon selling. Lost in his own world, he had no idea how much time had passed when Ros and Taritha joined him at the table.
“Good evening, milord,” Ros said deferentially.
The young herbalist elbowed him, “Come on, he had one rule! He was writing!”
“Oh! Terribly sorry, sir!” Ros stammered.
“Not at all, I was basically doodling. How’s your evening going, is everything to your liking?” Grigory closed his notebook and put it away.
“Amazing milord, These rooms are huge! They're bigger than some of the houses I was looking at!” Taritha said.
“Of course! No one wants to live in dingy cells! Glad to hear! It’s easy to make a place bigger when you are building fresh. Let me know if you find anything that needs fixing, our builders are still in town working on the harbour fortress now, but I can have them send someone if there is anything amiss!”
“I don’t reckon neither of us knew palaces this nice existed anywhere, milord!” Ros said with a shrug. “We might not be the best eyes for finding faults!”
“Heh! This is just the rustic first stage! Don’t worry about its crudeness for now, we’ll get there over time!” the demonologist promised, patting his satchel where the notebook of ideas was. His confidence was both unshakeable and unnecessary.
“Not to question your plans, but there are a lot more rooms than people. Are we expecting company? Are we hiring?” Taritha asked. Her eyebrows twitched slightly, having just questioned his plan for the first time.
“Big plans indeed! So that empty stretch east of the main building? That’s also part of our land grant. In a while we’ll be building a barracks there for our troops, while senior officers will stay in the main factory. That’s also why Stanisk will be taking a much more active role with civil defence. It’s central to our plan to secure the town, and by extension our own safety.”
“Our troops? Like us?” Jourgun asked, having joined them at the long table.
“Maybe? Probably not? We’ll see. The plan is to extensively recruit as we can afford it, since the pirate raid was just the beginning. We have something of incredible value, in the form of me, the imps and the factory itself. Many violent people feel they should possess every valuable thing, so we must be vigilant. Not to worry though! That’s just us planning for the worst. In reality, nothing like that will likely happen. Just by being well defended we’ll scare off the greedy.”
“Ah, like why it's dangerous for a beggar to wear a silk robe!” Rikad added as he joined them, along with a few others. The smells from the kitchen were intoxicatingly rich now, as Stanisk and Klive used the imps to finish and plate the meal.
“Just so, a lord can only have what he can defend, and because the first phases of my plan require a certain level of material wealth, I’ll need extensive defences,” Grigory explained as diplomatically as he could.
“The Empire itself will fear our might, milord!” Ros said excitedly.
“Nah, it won’t. That’s a dangerous thought. The Imperial army’s smallest deployable force is a legion, near enough to five thousand men. Even if we hit every hiring and training target, we’se not going to be in the business of fightin’ wars. Just enough to make us a spiky nut. The sort not worth chompin’,’” Stanisk called over from the kitchen.
“Oh,” Ros said, shrinking back into his seat.
“That’s more than all the men in the whole town!” Taritha lamented.
“Yeah, that’s why lil fishing villages don’t win wars. A legion is five thousand infantry with warships, supplies, siege cohorts, and command companies. If’n it’s a real fight, then they might deploy all ten Imperial legions. Then start raising more if’n they’re losing. We ain’t never gonna try to fight that. No nation in the world has ever picked that fight and won.”
To counter the grim tone settling over his celebratory dinner, Grigory chimed in with a reassuring smile, “We’re loyal Hyruxian subjects, and the legions protect us. We pay taxes in full, we’re on the right side of all this. We just want a bit of security against more, uh, regional actors. Besides, a large well equipped force lends our diplomacy weight we wouldn’t otherwise have.”
Now that the table was filling up and his men looked satisfied with his answers, he raised his voice to the kitchen, “How’s it going in there?”
“Good! I bought a deer from one of the hunters this morning, and it turned out just right!” Stanisk replied, personally putting the finishing touches on his creation. Aethlina moved across the kitchen to watch Stanisk work, making Grigory do a double take. He hadn’t realised she was even in the building.
“Oh! Capital! Everyone in the entire company is here now! Even better!” Grigory said, motioning Aethlina to sit by him. He was glad he’d made the full number of chairs!
Stanisk and Klive brought out plates heaped with slices of braised venison, steamed tubers and sautéed onions. Tubs of butter, bowls of gravy, and finally a heaping basket of fresh buns followed. Stanisk took his seat and, smiling with pride, “What’re you helpless kittens lookin’ at? Never seen dinner ‘afore? Dig in!”
The feast was a perfect end to a troubling day, and even though the conversation died down as they ate, Grigory observed every single one of his hirelings intently, relieved to see not a single one seemed put off by a meal made by demons. Catching Stanisk’s eye, he made an empty cup gesture.
“Imps! Bring us all some drinks! Wine, beer and water!” Stanisk shouted to his imps. With speed and efficiency, the little demons filled clay cups and brought everyone three drinks, exactly as ordered.
“Ah, dammit, I meant—It’s fine. Drink what you want and I’ll just dump the rest!” The chief of security’s good humour faded for an instant before returning twice as bright.
“No, I love having three drinks! And the water and beer are cold! In the summer! The gods themselves envy me!” Rikad declared.
“Uh oh! It looks like Mage Thippily made imps, but the imps made the real monster!” Kedril retorted, gesturing at Rikad holding three cups between his hands, rotating them to drink out of each, while spilling beer all over his own arm.
Their high spirits encouraged Grigory. He’d worried they would be morose and frightened tonight, after making them to live in what could be described as a hive of demons. Joking about the imps was beyond his expectations, so he smiled without speaking, sipping his red wine. Not his cherished Malaentian Red, but a nice varietal from the mainland he’d recently imported a few cases of. Once the plates were empty, Stanisk had the imps clear the table and start washing up while everyone remained seated at the long pine table, bellies full to bursting.
“That was spectacular Stanisk! Thank you!” Grigory offered, and everyone else chimed in a breath later.
“Nothing like a lifetime of bland ration bars for months to really spark an interest in what good food ought to be! I’m glad ya’se liked it,” the big veteran said dismissively.
“How is everyone finding their new accommodations? I know I don’t have all the furniture done just yet, but is everyone good for tonight?” Grigory asked, ever the eager host.
The men nodded and looked at each other. Complaining was frowned upon and nothing here was remotely a hardship.
“Capital! Glad to hear it, and by all means bring it to my attention if your needs are unmet!” Grigory sat still and everyone kept looking at him.
Now’s as good a time as any. It’s not even a surprise, I think I mentioned it a few times already.
“Ahem! So! I’d like to present each of you with your own imps! Some ground rules though; there may be people that aren’t ready for this style of magic, so I ask that you don’t mention anything about them anywhere outside of the factory. Or even imply there are any magical creatures, just that things get made here?”
He waited until they all at least nodded.
“Alright! Here you go, I have one for everyone! The imps are identical, so don’t worry about which ones you get. Um. Good luck?” With a shrug he reached down beside his chair and from a leather case he pulled a series of carved wooden boxes, and passed them out to everyone sitting at the table.
***
With a muted clatter, Taritha watched as the small dark boxes were distributed. She wasn’t sure if there was one for her, being fairly new to the company. She wasn’t sure how she felt; owning demons seemed like a big step, but the ancient urge to possess something nice or powerful was one she wasn’t immune to. Her heart leapt as a heavy box slid in front of her.
With trepidation, she touched it with one finger; it appeared to be regular wood, perhaps stained oak. The box was small and rectangular, quite thin, and she held it easily in one hand. It was narrow enough to fit comfortably between her thumb and fingers, its weight noticeable but not oppressive. She had expected dread, palpable evil, or something, but it just felt a bit heavy. Turning it over, she saw no visible clasps or hinges. The outside was covered in the flawless ornate carvings she was starting to grow familiar with. This time, the carvings depicted joyful industrial scenes—strong men swinging square hammers, smoke stacks, and laden ships and carts. The central image on each side was gilded with gold leaf, making it strikingly dignified.
Ignoring the excitement and increasing movement around her, she felt as if she were in her own universe. She slowly pulled on the lid, finding it opened on tiny hidden hinges, revealing three ebony totems inside. They were the size and shape of a fairytale wand, resting on a bed of lush green velvet, held in place by a broad ribbon tied in a perfect bow.
Even without considering the priceless nature of the artefacts, she was impressed, almost distracted, by the quality of the presentation. He didn’t have to go to such lengths; she’d expected them to be simply handed to her.
She slid one of the totems out without undoing the bow. It was cool and heavy but otherwise seemed normal. She could see layers of impossibly fine carving, this time gilded with silver. She could sense the potent magic in the object, but it felt strange. She’d examined other enchanted items before, and their enchantments were all transcendently beautiful in a complex and technical way. This was so dense it felt like nothing. Or perhaps everything? She wasn’t sure, but it wasn’t at all like the other objects. Stilling herself and trying to puzzle out its secrets brought her no closer to any revelation. She shook her head and resolved to investigate further in private. She returned the totem to its place in the box and gently closed it.
Only now did she notice the table was thick with imps, more than twenty darting and leaping energetically. Her colleagues had summoned theirs and were already giving orders.
“You two, throw the third imp as high as you can!”
“Merp!”
“All of you, cross the table as fast as you can, but walk on your hands!”
“Merp!”
“Duel with these forks!”
“Merp! Merp!”
The men were laughing and pointing between shouting out fresh orders. All the commands were pointless and frivolous, making Taritha powerfully uncomfortable. These were forces of nature, extraplanar beings of unimaginable power, and they were being made to sprint into empty mugs to see how far the mug would fly!?
She shot a questioning look to the master demonologist to gauge his reaction. He was smiling and complimenting their creativity, so maybe she was overreacting? Still, she had no interest in wasting them on silly games. Emergencies only. Or at least serious concerns only. Not for dodging knotted linen napkins, that’s for sure!
With the burden of responsibility successfully dodged, she was free to watch everyone else’s fun. The cacophony of excitement was so infectious that she found herself giggling and pointing at them racing as makeshift horses, with an imp bent over holding the tiny waist of the imp in front of him, while a third one sat atop as a rider. They were so silly looking and energetic.
“You’re sure this doesn’t hurt or anger them?” Taritha asked.
“Oh my no, it’s not like that at all. They have minds, but lack awareness, or awareness of their own mind I guess? It’s fine! They are just made out of the same stuff as demons, but not actually demonic.” The mage stood up and stretched. “They are remarkably durable, it’s unlikely anything short of silvered steel will harm them. I, on the other hand, am at risk of being badly over-tired already! I trust you will be okay, left on your own! I’ll see you in the morning!”
“I’se properly tired too, but if you want, let's pop into the factory and I’ll show you how to get them to make their own clothes. It’s just tellin’ ‘em to do that, so you’se might not need too much hand holding!” Stanisk pushed himself away from the long table, and motioned for them to follow him.
They went into the cavernous factory, just across the hallway. What was an impressive and huge room in the daylight was now an infinite blackness, like a starless night. A few men had grabbed leviathan-oil lamps off the table, and they huddled in a small circle of warm, safe light. They gathered around a long low table, and Stanisk laid out a few bolts of fabric. The fine weaves were familiar to Taritha; they were the same as those used in the clothes she’d been getting from the company.
“It’s simple enough,” Stanisk said as he put a heavy leather bag of tools on the table. “Just say what you want, with as much or as little detail, and they’ll just make that.”
“Imps, make a suit of legion plate armour, imp-sized, out of shoe leather!” Rikad said with glee.
“Merp!” replied several at once, as they began cutting and forming the leather without hesitation. The imps even used grey wool for the under-mail parts, and tiny flares of hellfire to warp the leather into the right shapes. Soon, a tiny suit of black armour lay on the table, looking like what an imperial heavy infantryman would wear, but distorted to the proportions of the gawky imps.
“I dub thee, Imperial commander, Real Imp. Don thy armour!” Rikad ordered. “Do they remember their names?” he asked over his shoulder to Stanisk.
“Oh yeah, they’re proper sharp!” he confirmed.
“Create an imp-sized lord's robe with a sash of office! When it is done, you shall be known as D’Imp Lomat! I might need a minute to think of the last one though…” Rikad said to everyone watching his imps.
Reluctantly, Taritha opened the box and invoked her three imps. She looked at them closely; as far as she could tell, they were perfectly interchangeable with every other imp.
Looking over the fabrics, she chose a striking blue, a deep red, and a golden yellow. “Imps! Make imp-sized sundresses, mainly white with these colours as a main theme. and matching coloured sun hats,” she added hastily. Their heads were distractingly inhuman, so covering them might help. She watched them work, even interrupting a few times to ask for embroidered details and minor adjustments. Once they finished, she had them don their new outfits.
Oh! The hems seem scandalously short on their long lanky legs! Better than before, but not by a lot.
“Imps, please put on the hats that match the colour of your dress.”
“Merp.”
Much better! They look like ladies now!
“You are now Lady Bluebird, Lady Crossbill, and…” She paused at the last one, thinking of songbirds that were as bright yellow as the fabric. “Miss Goldfinch!”
She leaned back and admired her little ladies. They were far less threatening now, and their dull crimson skin really made the dresses look extra vibrant.
“Dang Taritha, how did you make yours so pretty? I want some pretty ones!” Jourgun commented as he looked over.
“Drool over your own demons! These are mine!” she said playfully. There was an undercurrent of possessiveness that she didn’t expect, but these ones were hers now. “Anyways, I’m going to bed too, you guys are too slow! Have fun, boys!” she said as she devoked her imps. The new clothes fell to the work surface.
“Oh yeah, they don’t take that with ‘em, wherever they go, so just keep it in a lil bag or whatever,” Stanisk said when he saw her distress. “They gotta get dressed every time you invoke it,” he shrugged.
So much to learn today!
With a brave smile, she replaced the totems in the box and gathered the dresses and hats. “Mind if I take…” she said as she slowly lifted a lamp from near Rikad.
“Oh yeah, all yours,” he said dismissively, fully engrossed in examining the tiny lordly robes of D’Imp Lomat.
She went back to the hall, up the wide even stairs to the third floor. She’d only spent a bit of time investigating it earlier, as she and Ros had been anxious about being late for dinner. She saw the heap of her worldly possessions against the wall where she’d left them. The only furniture here was the bed, but by the sounds of it, getting some tables, chairs, and wardrobes would be easy enough tomorrow. She placed the totem box and the tiny outfits on the floor beside the bed.
The bed itself was unlike any she’d ever heard of. Crafted with thick pine beams and topped with a mattress of imported cotton, it was probably wider than her entire hovel. A family of five could sleep on it and barely touch. She couldn’t imagine a more lordly bed. Its refined look and the luxurious softness were worlds apart from the coarse fabric and straw she was used to. Sometimes in the fall, she’d add freshly fallen leaves to her straw mattress for extra comfort, but that was a fleeting pleasure. This bed, however, promised constant comfort. She eyed the pile of heavy blankets at the foot of the bed. Recently, she had bought a single blanket from the market, thin and scratchy, but these were the mage’s blankets—thick, plush, and impossibly soft.
She shut the heavy door and took off her tall boots. The floor felt smooth under her bare feet. Even having a floor was a new luxury; she was accustomed to hard-packed dirt floors like most everyone else. This wasn’t just a floor; it was a delicate herringbone pattern of different kinds of wood, obviously done by the agile imps. It was cleaner, smoother, and more level than any table she’d eaten off before the mage came to town.
She stopped admiring the floor and stripped to her shift. She felt exposed being so undressed around so many men. She reasoned it out—the iron and oak door was stronger than a hide flap, and this would doubtlessly be the safest sleep of her life. Just a reaction, not a reality. She left the lamp on the floor and got in bed.
With a panic, she yelped as the whole bed flowed underneath her, as if she’d stepped on the tail of a sleeping cat. She tried to get up but her feet were already off the floor, and she couldn’t find a stable purchase with her hands. She froze up to think her way out of it, and the bed stopped moving almost as soon as she did.
Her heart pounded in her chest.
Was this an enchantment gone awry? Some bed demon?
Slowly, she log-rolled towards the edge of the bed, and the mattress under her also slowly moved, but not enough to stop her. Slow and steady, she might get free yet. Finally, she was close enough to put a foot down and stand. The bed flowed back to being perfectly flat.
She stood up, with a hand to her sternum, trying to catch her breath.
Think! What did the mage say about this today? It would magically adjust? Maybe that was all it was doing?
She leaned over and gently pushed down with a single fist. It was super pliable, then increasingly firm. But it felt unlike anything else—stacks of clothes or hides all felt different when they got pressed.
It must be magic. No time to be timid, and it would be humiliating to go to either the mage or the chief about this.
The only spell she could reliably cast was a gesture of Mana-Visualization. It caused the invisible lines of arcane energy to glow visibly, in bright colours that hinted at their use and purpose. She cast it to better examine her bed. It wasn’t enchanted as she expected; rather, hundreds and hundreds of things inside it were, and they linked and overlapped in ways she wouldn’t understand if she studied enchantments for a decade. She involuntarily took a step back from it, like finding a hundred warhorses inside a small cabinet.
She dismissed the gesture. With renewed determination, she slowly sat down on the bed. It shifted but only a bit. It was very soft and comfortable. Slowly, she turned and laid back, fighting her panic as the mattress kept shifting everywhere her body touched it, unnervingly lifelike. Fully laying down, she stopped and the mattress stopped. Even as her eyes were still wide with terror, she started to calm down. To test her theories, she rolled onto her side, and the mattress under her hip grew softer, and the part under her ribs grew firmer, until the pressure equalised. Rolling back, she felt it shift again, and once more the mattress's firmness changed all up and down her body, stopping once it was the same shape as her body’s pressure, resulting in sublime comfort.
Oh. This is incredible. I get it now!
She reached to the foot of the bed, pulled one of the soft blankets up to her chin, reached down to extinguish the lamp and drifted off into a better sleep than anyone in the history of her family ever had.
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2024.05.17 04:23 TopEstablishment7534 Movie about an interactive play/theatre?
Honestly, I saw this random film on youtube and I can't find the name. All I remember is that the film takes place in a theatre/play where the audience (or some of the characters) can do whatever they want to the actors. I think it was an old movie, but not completely sure. The only scene I can kinda remember was one where a woman was like assualted by either the audience or the other stage characters; and, she claimed her son/child was like an important figure in religion/the theater's story.
submitted by TopEstablishment7534 to whatsthemoviecalled [link] [comments]
2024.05.17 04:19 Flat-Possibility-953 Cecille Acosta's Nickname
After four episodes in HS I have made the decision to give Cecille a nickname throughout the rest of the series or until she gains her sanity. Though most of the time I'll still call her by her first name, afterall she's a battered wife anyways.
I would call her Delulu but I thought of something better. I decided to bestow upon her the Nickname "Monsoon"
I know it literally means seasonal reversing winds but there is a deeper meaning why I nickname her that. It's a reffence to Drag Queen Jinxs Monsoon; Winner of RuPaul's Drag Race Season 5. In an episode they did a perfume commercial and their perfure is called "Delusion" [And we all know Delulu originated from Delusion]
submitted by Flat-Possibility-953 to highstreetabscbn [link] [comments]
I would call her Delulu but I thought of something better. I decided to bestow upon her the Nickname "Monsoon"
I know it literally means seasonal reversing winds but there is a deeper meaning why I nickname her that. It's a reffence to Drag Queen Jinxs Monsoon; Winner of RuPaul's Drag Race Season 5. In an episode they did a perfume commercial and their perfure is called "Delusion" [And we all know Delulu originated from Delusion]