#Space Operations Center | Explore Tumblr Posts and Blogs

halemerry · 9 months

Text

I’m doing it. I’m breaking down the Scene. You know the one. I've been tearing it apart for a week straight now in discord and figured I should leave my observations here. So, uh, yeah, this one's a big one so buckle up folks!

I want to start with the build up because I can never leave well enough alone and because I think the framing we have coming into this sequence is important. We start with the camera on Mr. Acts of Service himself. Crowley, after banishing Muriel, starts cleaning up the bookshop. The music playing is the soft slow rendition of the opening theme. He is returning this space to the status quo, resetting back to normal, fully intending to do this for Aziraphale before dragging him out to the Ritz, falling back on their typical pattern of going out together for food and drink.

Now in a moment he's going to get interrupted by Nina and Maggie but before we get there I want to take a second to draw attention to the area of the bookshop that Crowley will be operating in for the bulk of this. This space is one we very frequently see Aziraphale in. It's his desk behind the till - a spot linked intrinsically to him, even down to the fact that it's located on the east side of the shop. The windows are throwing beams of light onto Aziraphale's chair and onto the same spot Crowley will stand during The Scene. This lighting choice will not change from now until our last shots in the bookshop and the way the blocking plays around these sunbeams is very aware (as Good Omens nearly always is) of exactly where they will land.

Nina and Maggie enter the scene to have a chat about boundaries and communication. Maggie, his own mirror, tells him flat out that he can't play with their lives like that. Maggie and Nina then both tell him that he and Aziraphale need to talk. And I don’t think they're wrong, exactly, but I do think that Aziraphale and Crowley are actually a lot better at communicating in general than they are in these following high stakes scenes. But that's some meta for later - for now I want to just focus on the particular way Crowley's been primed for the conversation he and Az are about to have. Nina in particular does something really interesting. She does exactly what we as the audience did when we first saw Nina and Maggie: she mistakenly projects herself onto Crowley. She says he has trust issues because she does and in the process accidentally frames the core of their problem as Crowley needing to allow himself to trust Aziraphale, a thing that he actively already does and has done for quite some time and has been shown to us several times throughout the two seasons.

Now the build up we get for Aziraphale going into this conversation is very small. By which I mean practically non-existent. We start at the end of his conversation with the Metatron who tells him to go tell his friend the good news - which notably does not imply that the news is something that would require Crowley to make a choice - and sends Aziraphale on his way. Now the most crucial thing in this sequence, to me, is the expressions Aziraphale makes when he thinks the Metatron isn't looking at him. While polite and smiley when engaged with him, Az's expression falls as soon as he doesn't have eyes on him. Something is wrong and Aziraphale knows it.

Aziraphale enters the shop. The doorway is dark and shadowy and he hasn't composed himself yet - though he does give Nina and Maggie a little smile as they leave. Then, as soon as they're not looking at him, but before he approaches Crowley, the tension is back.

He hesitates, then smiles and approaches Crowley. Crowley, planted dead center in that beam of light from earlier, takes off his glasses and promptly starts nervously rambling. The music cuts off here entirely, giving us nothing to focus on but the noises coming from our lead actors, the background noise from the street, and the ticking of the clock in the background. Aziraphale puts up his hands like he's going to interrupt then lowers them again as Crowley keeps talking, his face shifting into this helpless sort of smitten look.

Now look at the light and how it hits the bookshelves behind Crowley as he tries to get his confession going. It's in the shape of a wing. Keep an eye on that - when the camera chooses to show us this one wing of light is important.

Aziraphale then interrupts and there are two things I want to draw attention to here as Aziraphale fumbles for words. First of all is the fact that he glances in the direction of the door (and the Metatron) at least three times as he's struggling to speak.

Secondly, I want to draw attention to the words Az actually says here. He first echoes the Metatron's earlier statement about good news. He then does not roll into the news itself and instead glances at the door and says the Metatron. He starts rambling about the Metatron to a very confused looking Crowley and evetually talks his way into that the Metatron said something. He then hits a wall again, scrambling to find words and instead of explaining the context of what the Metatron says he lands on Gabriel. His brain latches onto someone obviously on the forefront of both their minds and something vaguely relevant to the news he's about to share. He rambles more about Gabriel's job, glancing once again at the door in the middle of this, still avoiding getting to the actual point or perhaps even synthesizing said point as he goes.

We then cut to what is framed as a flashback. I think it is very notable we only see this as Az is telling it to us. In other words that this is not us witnessing an event happening but us witnessing what Aziraphale is telling Crowley. This sequence is the single scene where the Metatron calls Crowley by name despite actively avoiding it in any real time continuity sequences. He uses it twice here which I think also is the strongest thread in here that tells us that we are seeing what Crowley is being told not necessarily what actually happened.

The instant the idea of restoring Crowley comes up the wing of light behind Crowley loses visibility. Crowley's speechless for a moment so Aziraphale fills the silence, already looking like he wants to cry as he talks about the old days. (I also can't help but to notice that the lights behind Az in this shot look like eyes.) Crowley finally speaks and circles around the beam of light he's been standing in like an object seeking to re-establish a source of gravity. The music cuts back in here with tense drawn out notes.

Crowley talks about how Hell offered him his place back and he turned them down. Aziraphale in turn presses on ideas that we know he doesn't really believe. It's a echo of the bandstand and uses a lot of the same language of that fight - another fight we know features Aziraphale saying things he knows aren't true. By now, we have seen him multiple times this season express he does not want to go back and make it abundantly clear that the side they have made for themselves is important to him. We see him actively calling angels bad and incompetent, contrary to everything he's telling Crowley here. We see him be the one to repetitively remind Crowley that they are on their side and be the one that always draws attention to that first. Yet here he says Heaven is the side of light to Crowley - who by the way is literally framed in light. The frame is telling us outright that Crowley is already Good as he is, while Az's expressions are telling us he knows Heaven isn't.

Aziraphale can't tell him that he did not turn down the job and Crowley does another orbit. The music cuts again. This time, he stops with his back to Az, tilts his head upward and decides to ruin me by invoking God.

Here he is, hearing these awful things that he was sure they had moved on from, hearing these things he has tried for so long and so hard to help them both unlearn. But these sorts of habits and lessons are insidious and he knows that and he himself is even a victim of that himself. I mean, don't get me wrong, he recognizes this is weird, I think, but between his own self worth issues and the stress of the few days they'd had can't work out what exactly is off here. He's confused and lost and just been told, in his mind, that he is not good enough as he is - a thing he has always on some level also believed. Yet he reaches out to the parent that taught him that lesson in the first place for strength and grounds himself with that. He circles back to stand in the beam of light and, with that wing of light finally backlighting him again, he is brave and tries to be enough anyway. He bows his head downward, fully emerging the line of this body in the light and tries again. Because even now, even after that emotional blow, Crowley is an optimist who can't help but to try.

At first Aziraphale can't figure out quite what is going on here. He squints at Crowley and glances at the door again. Crowley meanwhile keeps continually glancing upward, whether at God or to hold back tears or some combination of both. In most of these shots Crowley bisects the room, creating a dark half to his left and a light half to his right.

Crowley says he relies on Aziraphale. Even here, even now when he's just hurt him. Because it is the truth. Because Aziraphale makes him feel less alone. Because Aziraphale proves to him that no matter how fucked the system is that there is still good in the world, even if he doesn't always agree with it.

It is only once there is no doubt what Crowley is doing that Aziraphale starts shaking his head in very small quick shakes. He looks panicked even as they both physically draw closer to each other. It's huge not here, not like this energy to me. Aziraphale asks Crowley to come with to help him run Heaven. This is the point where Crowley starts tearing up.

Crowley then says you can't leave this bookshop, trying to say you can't leave me. Az, nearly in tears himself, says 'oh Crowley. Nothing lasts forever' as a means to convey that the books aren't what is important here. Crowley, naturally, hears 'including us.'

Crowley looks down again, quietly agrees, and puts on his glasses, covering himself up again. He then wishes Aziraphale good luck and the music starts up again, still tense but sorrowful now. He leaves the light and heads to the door. Az can't help but to call after him. Please wait. And Crowley can't help but to listen. It's worth noting here that even as he rotates toward the north door, the light still gently hits his face. The shots in general are darker though. He's moved away from the light but it still can't help but to touch him.

"Come with me," says Aziraphale and then after a pause adds "To Heaven." Aziraphale, looking heartbroken, starts one of two 'I' statements he will struggle around in the next few moments. He lands on I need. Which. I want to pause there a moment because holy shit. That is not something they say out loud either. Az looks at him a moment, visibly struggling before he says his dialogue about Crowley not understanding his offer. Like he's said something he didn't mean to and needs to cover it up or like he can't handle the silence after such an honest statement. And on some level he's not wrong there. Because Crowley doesn't understand what Aziraphale is trying to say. But Aziraphale doesn't understand the way Crowley is reading it to course correct either.

Crowley says that he does understand and that he understands better than Aziraphale does. And he also isn't wrong either, from his perspective. Because he does understand the implications behind the offer theoretically in play here. Because he does know that the position Aziraphale is presenting him is not going to result in the outcome Aziraphale is presenting him with. There are some things you can't undo just like memories slipping through the cracks.

Az says there's nothing more to say, trying to dismiss Crowley despite having been the one to pull him to a stop moments ago. He puts on a fake polite smile for a beat but then his is jaw sets, mouth working as his eyes drop - unable to look Crowley in the eye.

Crowley tells him to listen as the music fades out and points upward. Aziraphale humors this, glancing up a few times before looking frustrated, saying he can't hear anything. The light from the window shines down in his direction without actually touching him. Crowley tells him "That's the point. No nightingales." The shot he's on here is a dark one without even any of the book shops pillars visible in it to brighten the shot.

Aziraphale looks frozen a moment here and then as Crowley calls him an idiot and says 'we could have been us' his face completely crumbles. He rapidly glances away to hide his face and Crowley moves and reaches to pull him back. They're both distraught. Az is clearly already holding back tears even before Crowley touches him. The angle of this shot frames Aziraphale in the light of the window. For the first time in this whole sequence Aziraphale is in the light, literally being physically pulled into it by Crowley.

The music swells, playing a similar theme to the one that plays as the Pillars of Creation are formed at the start of the season. They shift back and forth, the camera focusing on Aziraphale's face and hands. His hands move uncertainly, trying to reach out even as he's struggling emotionally. He is visibly shaking but he crucially does not pull away, not even a little.

His hands settle on Crowley's back, right where his wings would be, and for a brief moment gets taller, like he's allowing himself to lean into the kiss. They press together tightly, their mutual gravity sending them crashing together before they break apart. When they do Aziraphale looks devastated and his eyes move pretty much instantly to look out the window where the Metatron would be.

Crowley's glasses make him harder to read here, but he looks at Aziraphale like a man awaiting judgement in a trial he knows he's already lost. He's sad too, but as always, is waiting for Aziraphale's reaction. Because he might push continually at he boundaries of them as a unit but he has always let Aziraphale decide where to set them in stone.

Az fumbles over words here. He gets stuck on "I" here and lets it hang in the air. He then visibly thinks his words over, his expression slowly filling with resolve as he comes to some sort of conclusion. Then, like it's difficult to say, he falls back into old coded language. "I forgive you." A thing he has always said in response to things that he agrees with but cannot or should not allow himself to have.

Crowley sighs and tells him not to bother, refusing to fall into the old pattern that Aziraphale has. He is setting a boundary, for once, and even if it is one born from misunderstanding I am proud of him for being able to. He turns away and leaves. And this is where Az seems most in danger of falling apart. His lips move as Crowley goes, forming the start of a 'no' after him. He draws back from the door and turns his body away from it, physically distancing himself from anything that would feel like following Crowley. Except he can't help himself. With shaking hands he reaches up to touch his lips. He presses in, like he's trying to recreate the pressure and then his jaw works a moment and his expression sets as resolved.

The Metatron enters through the front door, which is framed in dark lighting. Aziraphale looks panicked and immediately turns his whole body away from him to hide his face while he collects himself.

He turns around after a beat and the Metatron asks 'how did he take it?' This is an odd question that only sort of half fits the fact that we are meant to believe at this point - that Aziraphale should be obtaining a yes or no from Crowley. It's not asking Crowley's choice at all. It's like the Metatron assumed a different conversation had happened or perhaps that he already knew the answer.

Aziraphale says he took it badly and the Metatron just takes a moment to direct a few casual digs at Crowley. He references him being stubborn and too curious - all the while avoiding the use of this name. At this point Az's eyes are locked out the window in the direction Crowley vanished to. The Metatron asks if he's ready to start despite originally having promised Az time to think over his answer. Aziraphale keeps glancing out the window.

For a moment he cracks, stepping away from the Metatron and back toward the east side of the bookshop. For the only time in this whole sequence he steps right into the sunbeam Crowley started in. It notably never illuminates his face as he mentions the issue of his bookshop (a statement absolutely not about the bookshop).

The Metatron explains Muriel will take care of it. Aziraphale looks back out the window with the start of an objection.

The Metatron interrupts him asking if there's anything he needs to take with him. Az's mouth takes a moment to try and form words. He steps out of the light again, starts to object, and then cuts off, eyes back to the window. Then his expression shifts again, settling in another state of resolve before he puts on his falsely polite face and follows the Metatron out.

As they leave the shop we cut back to Crowley. Crowley, who could've left to go handle his own emotions, did not leave. Instead he planted himself there, nice and noticeable. Like he wanted Aziraphale to see and know that he still has a choice. Like he needs to see Aziraphale make that choice for himself. Like he can't quite bring himself to be the one to close that last door. He stands there, framed by light, and doesn't move until the doors to the elevator to Heaven close behind Aziraphale. He then glances at Nina and Maggie and then gets in the Bentley, which starts playing the song that we now know he knows is supposed to be theirs. He turns off the music and drives away.

So there's a lot in these sequences and most of it probably won't help us figure out exactly what comes next, but there are definite signs that all is not as it's being presented to us. Whether he's actively lying or not, something is wrong that Aziraphale either can't or won't talk about frankly with Crowley. I suspect, whether it's under stress from a literal threat or because he believes that it is the safest option for them, that Aziraphale is doing all of this to protect Crowley.

There are also all sorts of signals here, especially in the lights, that gesture at the fact their togetherness is a net good. Together they are balanced and stronger for it and likely more in alignment with the Ineffable Plan. And, more importantly than that, that said togetherness is so clearly what they both want. They have loved each other longer than anything alive has ever loved anyone and none of this changes that. They both are saying that in their own ways here, even if those ways are not ones the other is particularly good at picking up and I for one cannot wait to get to see the payoff of them learning how to.

#good omens #gos2 spoilers #good omens spoilers #good omens meta #kind of #is it meta if its mostly me pointing and yelling?#come suffer with me #you have no idea how many times i had to watch these sequences for this #crowley #aziraphale #the bookshop

2K notes · View notes

impankajkk · 2 years

Text

#online training #Proexcellency Provides IBM Sterling WMS Online Training.#The IBM Sterling Warehouse Management System is specially tailored to manage operations in a mid-sized #finished goods distribution center (DC). Shipments may be shipped to consumers #retailers #or distributors. The key problems solved by IBM Sterling Warehouse Management Systems are shipment consolidation or transportation optimiza #customer compliance #productivity #and space optimization.#The IBM Sterling Warehouse Management System is designed to manage fulfillment and distribution across a network of facilities #including regional distribution centers #master distribution centers #fulfillment centers #stockrooms #plant warehouses #repair centers #and more. With its high degree of #reconfigurability and service-oriented architecture #IBM Sterling Warehouse Management System enables responsive customer fulfillment #improved operational efficiency #greater flexibility for growth #and ultimately #a lower total cost of ownership in large-scale and complex fulfillment environments.#IBM Sterling Warehouse Management System enables you to:#- Make better decisions by automating business processes #- Reduce time-to-market by reacting quickly to market changes #- Increase revenue through effective collaboration #Features and functionality of IBM Sterling Warehouse Management System:#- Networked Solution #- Multi-Enterprise Management

0 notes

historicity-was-already-taken · 4 months

Text

I am posting and responding to this ask anonymously as I don't want anyone harassing its sender. This has already been communicated with the person who sent the ask.

I just want to thank you for being a light in the darkness of anti-semitism, especially on this website. I have found I am on this site a lot less ever since it was made clear that other leftists here are more anti-semitic than we ever knew possible, using very specific wording of our own trauma against us (i.e. saying stuff like "colonialism", "genocide/ethnic cleansing", and calling JEWISH PEOPLE Nazis). It feels like, at best, they know Hamas ≠ All or even most Palestinians, but think that they think all JEWS = Bibi; and at worst, agree with Hamas and think of him as some sort of "freedom fighter". So, thank you from one leftist Jew to another, just trying to keep afloat here. ❤️

You are very welcome; it's certainly been overwhelming, and I'm glad this can be a safe space for you.

I do want to push back on some of this ask, though. Specifically in regard to terms such as "colonialism," "apartheid," "genocide," and "ethnic cleansing."

The use of these terms is not inherently anti-Semitic. For a lot of people, these terms are the best ones they have access to describe what they are seeing. I do think such terms as “colonialism” and “apartheid” are overly simple in regard to the last ~3000 years of Jewish history, and that they cast the situation into an alien historical context which dilutes and uncomplicates the all the historical realities at stake, but I truly do not think that all who use these terms do so to cause Jewish people pain.

Further complicating the picture is that terms like "colonialism" aren’t completely wrong. Modern Zionism arose in the context of mid-nineteenth century European large-scale movements towards nationalism (ie, the creation of nation-states) and away from the multi-national empire. Jews—a subject of anti-Semitism and fifth columnist suspicions within those emergent European nations—reacted to all this by joining the nationalism game.

What’s ironic, is that those European Jews who founded contemporary Zionism were reacting to the exclusion and racial hatred with which Gentile Europeans treated them, and then once they had some settlements in Palestine, they deployed similar variants of racial hatred at both the Palestinian Arab population, and Middle Eastern Jewry.

The existence of a distinct people and ethnic group in Palestine before the aliyot were not something the first generation of Zionists were concerned with. Because they were part of the same shitty, white supremacist, pro-imperialistic intellectual European tradition to which they were responding as victimized parties. As time went on and Zionist thought spread across Ashkenazic communities, we can see some variants. Some forms of far-left Zionism in twentieth century Poland, for example, actively built the presence and rights of Palestinian Arabs into their ideology, some of them actively stating that Zionism could not be a success if it necessitated transforming Palestinian Arabs into a group of secondhand citizens and a cheap source of labor in their own home.

Those leftist strands of Zionism tended to be Socialist/Communist in nature, and centered around the idea of life in Eretz Yisrael as one of a series of self-sufficient communes. Thus when the 1930s hit and things start to go bad, the Zionists we see fleeing to Palestine tended to be of the more centrist and far right variants. The left wing, socialist movements, already operating as a collective, had a membership uncomfortable with fleeing to safety while the rest remained behind.

And that same socialist/communal attitude, is why those variants of Zionist thought never made it into the Israeli political mainstream; most of their members and proponents were murdered in the Holocaust in part because they refused to leave their comrades behind. The General Zionists and Zionist Revisionists who rode out the years of the Holocaust in Palestine therefore already had access to the avenues of power which would become important in 1948, when the British Empire shrugged off its responsibilities towards the regions it colonized and destabilized.

Now, as for ethnic cleansing. I can’t sugar-coat this: that’s what the Naqba was. It was ethnic cleansing of Palestinian Arabs from their homes to make way for the Jewish State. The manipulative shit (but still somehow extremely prestigious) youth group I was in taught us that Arabs call it Naqba because they hate Jews and therefore existence of Jews in the Southern Levant was a tragedy, as was the fact that Hitler didn't finish the job.

That’s garbage: it’s called the Naqba because it was ethnic cleansing. And that's not the fault of the Holocaust survivors who made their way to Mandatory Palestine/Israel in the late 1940s--they lacked political power, and were often looked down upon by those who did; the Holocaust as part of Israeli National Mythology wasn't an immediate Thing.

If you spent your formative years around older Jewish folks of A Certain Generation, whose trauma has pretty much placed a permanent block on their ability to see some of what went down in 1948 for what it was, I can’t blame you for having that gut/cognitive dissonance reaction to the use of “ethnic cleansing” in the context of Israel and Palestine. I know those older folks. I loved them. They’re mostly gone now, and I miss them terribly. But their trauma-induced view of everything lives on in the ability of some younger Jews to properly name and understand what it is that happened in 1948.

It was ethnic cleansing.

Further, not only were Palestinian Arabs ethnically cleansed, but the Middle Eastern and North African (MENA) Jews who were forced by their governments to flee their homes of thousands of years and seek refuge in Israel throughout the second half of the twentieth century…the Western and Central European Jews in control of Israel and its institutions treated them like shit too. Hadassah actively stole the babies of Yemeni Jews, told the parents that their children were dead, and rehomed them to Ashkenazic couples. There were death certificates. Members of the Ethiopian Jewish community were forcibly sterilized, and their ongoing treatment by the State is racist and generally atrocious. And this analysis of the relationship between the Israel State, MENA Jewish populations, and different Ashkenazic groups in Israel is horribly short and overly simple.

As for genocide. I honestly don’t know. I do know many people, who are very much not Anti-Semites, who are calling what’s happening in Gaza right now genocide; many of these people are also Jewish. I know many others who refer to the experiences of Palestinians between 1948 and now as a slow genocide. Many of these people are also actively not anti-Semites, and many of them are Jewish.

So these terms, as uncomfortable as they may feel for people within the very specific Jewish generational background I believe we share, are not deployed as anti-Semitic weapons. Nazi comparisons? Yes. Swastikas superimposed over the Star of David? Yes. Very specific hook-nosed Jewish caricatures in relation to Israelis? Yes. Blood libel shit? Yes. These are all anti-Semitic, and are deployed to hurt and retraumatize Jewish people. But the rest are not nearly that simple.

And I didn’t learn this from like, Bad Evil Post-Modern Academics at Columbia University Who Hate Jews; I learned this from doing graduate-level work in the field of Modern Jewish History, and working in Jewish archives; this did not come from outside the building.

Now, as for Hamas as freedom fighters…that’s ignorant at best. Hamas’ charter clearly calls for the global destruction of the Jewish people [ETA: they edited this part out in 2017 for PR purposes], and their actions as rulers are horrifically, violently, homophobic, and seem to be more abut provoking Israel than they are about governing and protecting their people. But as you said, Hamas isn’t all Palestinians, and it’s also not all Palestinians who consider themselves freedom fighters. (A second reader of mine had the following commentary on this paragraph: "Might need a bit more complication around Hamas? I know that's not your area of expertise but it's worth mentioning that they were basically set up to undermine the PLO and what would become the Palestinian Authority in the West Bank. You're right that they aren't representative of all Palestinian thought and resistance, and that they are on some fuck shit.")

So while I’m so glad that blog is a comfort to you, I encourage you to also take a step into some of your discomfort, and ask yourself where it comes from.

No one reading this post has my consent to use it to silence other Jewish people who are in different stages of their journey towards understanding how generational trauma has impacted their ability to grasp all of this. Further, if you choose to attack me for gently calling my people in, you're a piece of shit and I will be mean to you.

#jewish history #israeli history #palestinian history #history of zionism

890 notes · View notes

incorrectbatfam · 8 months

Note

Wayne Tower yelp reviews pls (wrong answers ofc)

★★★☆☆ Disappointed but not surprised

Was invited to the Wayne Gala held at the Tower this year to accommodate special guests from the Justice League. Was photographed by reporter Clark Kent. Wanted to meet Superman but he didn't show up. Food and atmosphere was good. Got told off for swinging from the chandelier. Why have a chandelier if not for swinging?

★☆☆☆☆ Not even gonna dignify it with a title

I'd give zero stars if I could. The CEO is a massive fucking asshole. He's full of nothing but smooth-brained takes. He claims he'll be there when you need him but never shows up. And when you RIGHTFULLY resent him, he'll turn around and pretend YOU are the bad guy. That isn't even touching on his AUDACITY to replace you so soon after you leave. You think you know this man, you think you've grown to trust him, and then he goes and stabs you in the back. Believe me when I say RUN. Get as FAR away from this company and that bastard Bruce Wayne as you possibly can.

★★☆☆☆ SOS

I work here. Too many emails. Half the execs are Boomers who can't export a PDF. The break room is out of coffee. My dad won't stop visiting the office. When will the nightmare end???

★★★★☆ Imperfect but respectable

I had the opportunity to visit Wayne Tower on Bring Your Child To Work Day. The building is up to code and I was able to view all the health code certifications. I admire that Wayne Enterprises takes care of its employees by allowing ample vacation time, in-house daycare, and well-maintained recreation spaces. The cafeteria did not have as many vegetarian options as I would have preferred, but I have been informed that they operate on a rotating menu, so I shall revisit again next week and possibly amend my review. I would leave five stars but I ran into Tim Drake on the way out and that brought the whole experience down a notch.

★☆☆☆☆ No Chipotle

Was told there was a Chipotle here. Did not find Chipotle.

★★★☆☆ Badge entry didn't work

I'm on the night shift at the company's call center. One time I was already running late but for some reason I couldn't badge in. The janitor wouldn't let me through even though I had proof I was supposed to be here. Had to escalate to the CEO. Still better than working the Batburger drive-thru though.

★★★★★ Hi Dad

Hi Dad.

★★★★☆ Good but...

I love the bathrooms. They're easy to find and very accessible for a wheelchair user like myself. There's plenty of space for me to navigate and the products are top-notch, especially the hot towels. The toaster oven under the sink also doesn't make sense, but then again, my lockscreen is Nightwing so I can't judge.

★★☆☆☆ No cats allowed

I got written permission from the CEO himself to bring my cat to the office, but the doorman turned me away. Next time, there should be better communication between the employees.

★★★★☆ Rooftop makes for good date

I brought my girlfriend up here for our anniversary date. The building has a beautiful view of the city and the restaurant was great. The bread was a little dry, but nothing that a little butter couldn't fix. Unfortunately, she's an on-call detective and we had to cut our evening short, but that's not the staff's fault.

★☆☆☆☆ Got called Bri'ish

Someone called me Bri'ish.

994 notes · View notes

lonestarflight · 7 months

Text

The Apollo 14 Lunar Module (LM-8) Antares (right) undergoes checkout with Apollo 15's LM-10 Falcon (left) in the background.

Date: October 16, 1970

NASA ID: KSC-70PC-537

141 notes · View notes

reportwire · 2 years

Text

a.i. solutions® Named 2021 NASA Agency Large Business Prime Contractor of the Year

Press Release – Jun 2, 2022 LANHAM, Md., June 2, 2022 (Newswire.com) – a.i. solutions® has been named the Large Business Prime Contractor of the Year by the National Aeronautics and Space Administration (NASA) in the Agency’s 2021 Small Business Industry Awards (SBIA) program. This award recognizes the high quality of the company’s ongoing work at Kennedy Space Center (KSC), where a.i.…

View On WordPress

#a.i. solutions #aerospace #engineering #Kennedy Space Center #Military #nasa #rocket #satellite #space #space mission #space operations

0 notes

dirtyvulture · 6 months

Text

Ceremony

Natasha Romanoff x Beefy!Sergeant!Reader

18+ only read at your own risk

Summary: You get some (very nice) awards for your actions during Operation: Avalanche.

Word count: 1834

AN: Reader has a penis, no pronouns used.

This is Part 4 of my Sergeant Beef AU, following the events of this fic.

“Why is all of this necessary?” you whine, pulling at your stiff collar. Natasha slaps your hand down as she fixes the medals and ribbons on your chest.

“This is what you get for almost getting yourself killed,” she replies, although there is no malice in her tone. “Don’t worry. We can go back to my place afterwards and–”

“Finally,” you interrupt with a grin.

“Don’t get ahead of yourself,” she chastises again, although you know she’s just as excited as you are to be back on your home turf for the first time in months.

“How do I look? Would I pass your inspection this time?” you ask as she backs away from you, surveying you up and down. You’re leaning on one crutch still, but you’re glad that you don’t have to use a wheelchair anymore.

“You look fantastic,” Natasha says, leaning in for a soft kiss. “Ready?”

“Let’s do it.”

She walks at your pace as you hobble out of the parking lot, joining the large group of people gathered on the lawn of the park. Most of them you hadn’t seen since before your deployment, which at this point feels years ago. Your entire team is here too, all of them crowding around you for hugs and handshakes. There’s too many things to be said but no privacy to say them in, so you promise that you’ll give them your time once you return to the base. Men and women with more medals and ribbons than you can count come over to thank you and wish you well. It feels odd being the center of attention and you’re not really sure you like it.

Peter Parker brought along his Aunt May and she gives you a hug that almost lifts you off the ground. She cries into your shoulder while thanking you for not leaving her nephew behind and you unexpectedly get a little choked up yourself.

There’s also a camera crew from the local news station that asks you to sit down for a brief interview. You see Natasha watching you from behind the camera, a mixture of pride and worry on her face for you. She knows this event is emotionally and mentally draining for you, but she can’t be happier to be here celebrating your achievements with you.

After the interview, you sit with her in the front row, you on the aisle side because you need space for your crutch. General Fury goes up to the stage and gives the opening speech.

You zone out, hearing your name said a few times, but you don’t really care. Natasha nudges your knee with hers and you look up at her. She smiles bracingly which you return half-heartedly.

“I would now like to welcome Sergeant Y/N to the stage,” Fury says, as everyone erupts into applause. You grab your crutch and Natasha stands with you. Slowly, you limp to the steps of the stage, Natasha hovering behind you carefully. You hop up each step, your face hot as you feel all eyes on you and you pray that you don’t accidentally trip in front of them. “Sergeant Y/N,” Fury says as you approach him. He is mindful to offer you his left hand so you can leave your right one holding onto your crutch.

“It is with great honor that I present to you today the Purple Heart Award and the Distinguished Service Cross, for your bravery and actions during Operation: Avalanche. You did not hesitate to put yourself in certain danger to ensure your team’s safety, and because of your sacrifice, all six members of your team are here today. Thank you for your service and dedication to protecting this country, Sergeant Y/N.”

The applause sounds louder up here than your seat, and you stand tall as Fury pins your two new awards to your chest. Natasha is standing, probably clapping louder than anyone else, and her reaction makes you feel happier than the two awards you’ve just been given.

“Thank you, General,” you say, saluting him with a tight voice.

“Don’t thank me, Sergeant Y/N. I didn’t even write the speech,” he teases, standing next to you and posing for some pictures.

***********************************************************************

After the ceremony, you skip your own after party to go home with Natasha. You give everyone the excuse that you’re tired, which isn’t technically a lie, but now you just want to spend time with Natasha. She brings you to her apartment, which is bigger and nicer than yours, but you don’t even have a second to revel in its familiarity when she pushes you into the bedroom.

She helps unbutton your shirt, being very mindful of your new awards, taking it over to her closet to properly hang up. You can’t help but smile at how respectful she is when it's normally a desperate frenzy to get you undressed. You toss your crutch onto the floor, leaning most of your weight on your left leg while trying to simultaneously unbuckle your belt and take off your pants without falling over.

By the time she comes over to you, she’s already naked herself and you can’t help but moan when she presses against you, skin-to-skin. She wraps her strong arms around your waist, helping keep you upright, leaning up to kiss you. You can tell she’s trying to be gentle with you, but you can feel her passion with the way her hands possessively run up your sides, skating carefully over the new, large scar along your ribs. Her nails dig into your back muscles to press you against her harder.

“Nat,” you whisper when you start to feel your right leg shaking. You know you lost some muscle mass and definition being cooped up in a hospital bed for months, but Natasha doesn't seem to mind. You're also embarrassed that you can’t stay standing for long, but Natasha pulls away to take your hand and lead you to the bed. You limp after her, immediately dropping to your knees on the mattress as she lays down in front of you.

“I really want you, Y/N,” she says, practically devouring you with her eyes alone. “But if you’re not up to it, I can wait.”

“I want you too, Nat. So much,” you reply, starting to jerk yourself off to hardness. It’s been months since you’ve had an opportunity to have her like this; as often as her visits to your room in the hospital were, you weren’t well enough to engage in her favorite activity the way you used to. It had been hard on both of you to have to wait, and part of you was nervous that you wouldn’t last that long or didn’t remember how to please her.

“Okay. How do you want me?” Natasha asks, and it’s unusual for her to let you decide. But she seems to understand the importance of going at your pace and doesn’t want you to be uncomfortable.

“Uh…on your knees?” you suggest, not even sure what you’ll be able to handle. As long as the movement was minimal, you figure you’d be okay.

“Okay.” Natasha kisses you again before turning to face away from you, presenting her perfect backside. Instinctively you grab onto it, shuffling forward until your cock bumps against her butt. You’re already throbbing at her touch but you want to make sure she’s near the same level as you.

You bend forward, your side protesting a little at the movement, but you push through, slipping your arm around her waist to drag your fingers through her folds. Natasha puts her hand on your wrist to guide you better, and you start panting in anticipation when you feel how wet she is.

You dip your fingers into her while circling her clit and her body stiffens underneath you. You’re just glad you’re doing something right as she ruts back against you with a whine, guiding you to move faster and deeper.

“Fuck, I think I’m already going to cum,” Natasha admits, tightening around your fingers. She forces you to stop moving so you wait for her next instruction. It makes you feel a little bit better that you’re not the only one with decreased stamina. “Are you ready, babe?” she asks. “I want to cum with you.”

“Yeah, I’m good,” you say, looking down at your hard cock that’s standing almost at a 90-degree angle.

“Okay. Fuck me good, Y/N.”

Her words turn you feral almost instantly and you steady yourself by holding onto her waist with both hands, maybe a little harder than you intend because you don’t know how much longer you’ll be able to keep yourself upright, even in this kneeling position. The tip of your cock brushes against her hot center and this time, you don’t wait for further permission to enter her. You push in, her tight heat surrounding you, and you have to bite your lip to remind yourself not to cum immediately.

“Fuck, Nat,” you grunt, afraid to move while you adjust to how perfectly she stretches around you. Your cock twitches when she pulls you in deeper and you finally move your hips in time with hers, although a little more slowly than you would have liked.

You moan like you haven’t been fucked in months, which is technically true, and Natasha pulses harder around you when she hears your reaction to her. She pushes back against your abs with some force, a little afraid that she’ll knock you over, but she’s so desperate to be filled by you. Her toys, her hands, and even yours would never compare to your cock.

The bedroom quickly fills with the slick noises of your cock sliding in and out of her pussy. The pain in your side and thigh starts to become noticeable even with the numbing pleasure between your legs, and you realize you have to finish soon or you won’t get to at all.

“Nat, I…I need to cum,” you beg, hoping she’s at her peak too.

“Let go, babe,” Natasha says, curling her hands into the blankets and lifting her hips higher so you can piston against the sensitive spot inside of her. It takes a few more strokes that almost have you seeing stars before you unload, arching forward to bury yourself to the hilt as you pump out your seed in a few hard bursts. The pressure of being filled is enough to send Natasha over the edge, her cum dripping onto your cock as you pull out and collapse next to her on the bed, your chest heaving and sweat collecting around your neck.

Natasha reaches out to you, wrapping herself around your body like a koala bear. Although she would love to go another round with you, she can tell you’re too exhausted and doesn’t want to push you. So as you slowly drift off to sleep, Natasha whispers in your ear how much she loves you and how she’ll never take you for granted again.

---------------------------------------------------------------------------

AN: And things are basically back to normal for these two! :)

Please like, reblog, and comment! Follow for more content. 🥰

#natasha romanoff #black widow #natasha romanoff imagine #natasha romanoff smut #natasha romanoff x reader

586 notes · View notes

fastcardotmp3 · 2 months

Text

welcome to dot drops something that's been sitting in her tumblr drafts for 4 months Saturday I hope you enjoy your visit mwah! Steddie; Ballet AU; Dancer!Steve; mentions of cancer treatment; 1.5k words

Dress rehearsal is supposed to be a mess.

That's the point of it, really, to get all the mistakes out of your system and start the actual show run with a clean slate. Or at least, that had been the point of which they'd all convinced themselves when Steve was the one performing.

Bad dress meant good show, or so the old adage went, and so at least there was some ease of worry with the collective understanding that it won't happen on the night within the company.

That was the case when Steve was a student, when he was an apprentice, even during his time in the big leagues at Joffrey, but right now? At the end of a truly abysmal dress in this run-down theater on the edge of a town from which he'd once run away?

Steve is not the performer. He's the guy in charge.

And so he spirals.

He'd never wanted to be a director or an instructor or the head of a studio like this. It had never been in his plans. Steve was a man of action, where the people who do these jobs are the brains behind the operation.

Steve knows how to work hard, how to force his body and even his mind into submission until he gets the steps just right, but this? These past six months back in Hawkins temporarily helping out?

(God, please let it be temporary.)

He's not built for this. He's sitting center stage after everyone has left with only half the house lights to illuminate his misery and he's not. Built. For. This.

Not built for being a mentor or a leader or a role model; not built to handle the strenuous nature of his mother's legacy; not built to carry the name she's made for herself as a teacher and a choreographer and a shaper of young dancers.

Steve's not built for it!

They'd had a shitty fucking dress.

"Hey, uh, you gonna be a while? I kinda need to close up for the night."

The voice echoes across the empty space, bouncing off the high ceiling and straight up to land on the Marley floors at Steve's feet. The stage isn't built for dancers, much like Steve isn't built to be here, so they'd had to pull up the floors from the studio and drag them halfway across town just to roll them out here.

"Hello? Are you, like, alive up there?"

Steve sighs. "Yeah," he calls back, catching sight of the figure talking to him at the back of the theater, the young guy who runs the place and who Steve met a grand total of three days ago. His name is Eddie and he dresses more like he's running a music venue than a local community theater, but he's mostly stayed out of Steve's way so far. "Sorry, I'll get outta your hair."

"Sure," Eddie says, but he's just sort of leaning against the back wall by the window to the sound and lighting booth without an ounce of urgency to him as Steve drags himself to his aching feet and lugs his three separate bags of show stuff onto his shoulders.

There's an energy to an empty theater, one which has held a performance and one which now holds the ghosts of that performance, which tugs at the anxieties sitting buried deep beneath the more immediate ones.

Fears about his mom's health, about what will happen to the studio if she doesn't win this particular battle, about what will happen to him.

There's an energy here in the creak of the steps which lead down off the front of the stage and there's an energy to the plod of Steve's sneakers up the long, racked aisle between the seats.

There's an energy, but it's also not empty, is it.

"Hey, good show, dude," Eddie says, pushing off his wall as Steve grows nearer. "Like, talented kids you've got there."

Steve scoffs before he can help himself and then pinches the bridge of his nose in a grimace for not being able to help himself.

"Uh, yeah, thanks," he grits out, thinking about his bed. Thinking about how he never made time for dinner and he has to be here early again tomorrow.

"Wow, resounding confidence on this one," Eddie snorts, and when Steve opens his eyes it's to genuine amusement, genuine curiosity in the tilt of a head and furrow of a brow.

"No, just," he shakes his head, "you should see 'em when they're really on their game, y'know?"

Eddie hums, and when did Steve come to a stop right in front of him? He's leaving. He has to leave. Go home. Think about all the spacing corrections he needs to fix tomorrow and run through with the girls before show time.

"Bad dress, good show though, right?"

Steve startles. Maybe a little too visibly because Eddie is actively holding back laughter at the sight of him.

"What, I've worked at a theater for four years and I'm not supposed to pick up a thing or two about the ballet?" he snarks good-naturedly. "Caroline, the lady who did your job before you, she was a chatty one, taught me everything I know about Giselle."

It's a knife between the ribs. It's a soothing sort of heat, like from a roaring bonfire.

"You--" he clears his throat, "you know Caroline?"

"Highlight of the job honestly, before she retired," Eddie shrugs.

"She didn't retire."

"Oh. She...?"

"Chemo," Steve doesn't know why he's saying it all so willingly, why after months of trying to run the studio without having to talk about how's your mom doing, sweetheart? he's opening up to this stranger with the curly hair and curious eyes. But he knows her. He's-- Well, he knows her. "I'm just here to-- to fill in until she can come back. So."

Eddie is studying him now. Curious eyes turned intelligent, knowing, sad with the weight of realization.

"You're the wonder boy," he says on a breath like oh, I get it now.

"The what?" Steve balks.

"Her kid," Eddie says like it's simple. He's leaning against the wall again, like he's not planning on getting back to work anymore, "she was-- Shit, man, she loves the hell outta you. Oh, you should see my son, he's in Les Corsaire this season! Oh, my boy, he's just gotten promoted to soloist, he'll be a principal in no time! Oh, the talent on him, the--"

"Okay, okay, Jesus," Steve cuts him off, a half-hysterical laugh bubbling up out of his chest in the process.

"You should tell her I say hi next time you see her," Eddie isn't remotely deterred by having his little, lilting performance derailed. There's a softness to him that deserves a smaller space, walls less prone to echo.

"I will," Steve nods. His bags grow heavy on his shoulders.

"And you should chill out a little bit," he says, this time with the kind of glint to his eye that needs a bigger space, needs to be up on the stage to the point where it has Steve floundering, "y'know, about the the shitty dress that, between you and me," he leans in conspiratorially, close enough to feel the heat of his breath, "wasn't really all that shitty."

Steve sucks in a breath.

It strikes him somewhere old, the reassurance, somewhere young deep inside of him. The comforting from a mother that if he just works hard enough he’ll land that double tour in fifth some day soon, the unbroken promise that she would never give him special treatment as the son of the studio owner, but that she would never hesitate to reward him when he’d earned it on his own.

It strikes him because no one tells you how little reassurance the guy in charge is ever offered and it strikes him because it’s been such a long day and it strikes him because—

“Hey, have you had dinner yet?”

Eddie’s eyebrows lift high on his forehead and Steve sees it, the attitude on this dude that his mother absolutely would have loved in an instant. There’s a performer in there, even just in the brief interaction they’ve shared so far. There’s a spotlight pointing inwards and a show begging to be dragged out.

“No,” Eddie drags out slow and curious, “you offering, ballet boy?”

Steve needs a sounding board and he needs another set of eyes and he needs his mom to be okay and the show tomorrow to prove that he can handle this for her if she’s not, but maybe what he needs most right now, on the other side of a spiral in a dark and echoing theater, is this.

“Meet me at Benny’s in thirty,” he says simply as he makes his way for the door. “Since you’re such an experienced test audience.”

Eddie’s responding laugh is bright and his eyes glitter with curious amusement and maybe this is what Steve needs because maybe all of this is one big rehearsal at a big new life in and old small town.

And maybe this is his chance to make a mess of it. At least until the real show starts.

#dot fic #dot post #steddie #steve harrington #eddie munson #dancer!steve #community theater!eddie #sometimes i realize i have over 50 drafts and just need to clear one out for my sanity and today is that day fdjlsakf #one day i'll write a fleshed out dancer steve au but for now have some of This

351 notes · View notes