#British Sector

[the-time-lord-oracle]

Intercity Swallow appreciation

Intercity Swallow livery, as carried by HST, class 47s, 73s, 86s, 87s, the 89, 90s and 91s in the early 1990's. A very smart colour scheme which suited all of these classes and is leagues above most modern rail company liveries!

[givepie]

Hm! I feel a rant coming on! Everyone duck!

MY THOUGHTS ON THE HYPERIA STORY AND ITS THEMING. ALSO A GENERAL RANT ON COASTER THEMING.

Let start with a general question: what counts as theming?

To me, theming is the set pieces, pre-show, and anything laid out in a rides area to help develop a story. Most of the time this helps world-building more than anything. To me, even music can be a piece of theming because it helps to set a tone. For example, when riding Smiler, the laughter sounds almost manic and it makes you realise straight away that something is off, before you even step foot into X-sector.

Anything that DOESN'T fall into this classification such as website and app pages, falls into "storytelling". In a theme park, it is almost impossible to tell the entire story from one repeated instance inside of said story. To tell a complicated story like that of the Smiler, it would take so much exposition, which is very much not the point and would take away from the experience as a whole.

So storytelling isn't a bad thing, it's how they handle it.

To me, there are three behemoths of theme park theming and storytelling worldwide. That I know of.

Baron 1898, X-Sector post-Smiler, And Forbidden Valley post-Reborn.

Baron 1898 is pretty easy to grasp while you're there, even as a non-speaker of the language. You're going on a mine tour and 3 ghost ladies are PISSED that you're going down there. The actual theming is downright impressive ans I would love to see it in real life. You can then look up the story to find out who the ghosts are, who the Baron is, and how the mine came to be. Really good treat for people who decide to look.

Forbidden Valley has a story that has remained relatively consistent throughout the years. It has wondering actors that establish the world in a realistic yet entertaining way rather quickly. There are an official operation; there are people opposing the operation so there is something sneaky going on; there is a tour group taking advantage of the centrepiece so the Alien is a tourist attraction in this universe, too. Just little things that help put together a bigger picture.

Of course this starts coming apart a little bit when the audio starts explicitly telling you what is happening, but it still holds. You see someone's office, a crashed helicopter, weapons for warding off the alien. All things to help build up this universe you are now ankle-deep in. And then there's the 3 pages on the Internet that break down the story for you, which can also be seen in the shop.

Finally, of course, there's X-sector. It doesn't usually have roaming actors, and the theme suits better that way. Without the roaming actors, you see that the Ministry are secretive. Trying to stay out of the limelight, except for the skeleton crew they send out to keep the coaster safe and operational. It shows a tone.

However, people casually wondering what this is about can never get an easy answer. Cause the answer is spread out across what remains of a decade-old marketing campaign. Fun for people who want a deep dive, not so fun for people who are just lightly curious. The website barely tells you anything either.

But, on a positive light, the story is so complex it keeps a fandom. Not many coasters have that. It's an insane accomplishment.

And I have a theory as to why. Now, stay with me here I think I'm about to upset some people:

It has aspects of social and political commentary. "Not everything is political" ALL GOOD ART IS A COMMENTARY ON THE TIMES AND CIRCUMSTANCES YOU WERE RAISED IN SIT YOUR ARSE BACK DOWN.

RIGHT, so, Smiler is a story about the government dedicating an organisation to keeping people artificially content to keep people compliant. What are Brits notorious for doing, in comparison to the French?

Doing fuck all. This wasn't always the case. We would riot, we would strike. Now we strike but while the other half of the country complains and just tells the strikers to sit back down and take the mistreatment. We are miserable, we complain, and we go about our day. And that's the joke. Its funny. So why bother changing it?

And if we can't be bothered changing something cause it's funny, what happens if they make everything purposefully funny? They'd never have to deal with the strikes in the first place.

The government functions off of our social compliance, which can come from making jokes at our own expense. We even see it now with our drowned-rat-faced PM as he continues to make a fool out of himself so he's funny. If he's funny, we want to see him more. That's a valid strategy nowadays.

Smiler. Is about how Keep Calm And Carry On is a stand against progress.

Smiler. Is a political and social commentary on the people of Britain. You're welcome.

Anyway!

HOW DOES THIS RELATE TO THE NEW WORLD-STAGE COASTER IN STAINES?

The problem is: it doesn't. Instead of taking inspiration from its sister park, Alton, Thorpe decided to take inspiration from Icon and its shoebox station.

Where is Fearless Valley taking place? When is Fearless Valley taking place? What point in the story are we looking at here? The issue [only issue, really] with Hyperia, is it entirely relies on storytelling and a few bits and bobs in the queue.

Remember the shortcoming in Nemesis? Where you can get a good grasp of the story without it being blasted in your ear? Yeah here they straight up tell you the story, too. The theming has BECOME the storytelling.

Next question: what is Hyperia, the coaster, supposed to be? Yes, we know the story is that a goddess called hyperia overcame her fear of the sea by building wings and escaping the island she was trapped on [for some unspecified reason. Is hyperia evil?], but what IS the coaster supposed to be?

Smiler is the Marmaliser, the machine that transforms you into a smiling advocate. Nemesis is the tentacles of the monster overtaking the metal that pins it down. Baron is the track the drill takes to get into the mine.

What is Hyperia? Are we following Her as she soars, were we stuck with Her; the Icarus to her Daedalus? Are we following in her footsteps as part of a ceremony Her followers reenact for her blessing? Are we supposed to be Her? It's never really specified.

The station is chocked full of a last-ditch attempt of theming, which in comparison with the whole lotta nothing you get from the queueline? It feels cramped. It feels cheap. It barely feels like it belongs on a stage alongside Taron, Velocicoaster and Voltron Nevera. If they didn't have the budget to do the storytelling and the theme, they should've gone for theme.

Any story with no theme feels cheap and artificial. Any theme with no story still stands out and has breathtaking scenes. If they focused more on the white-gold colour palate and maybe had a few statues around and about they could pass it as some sort of pantheon, like climbing Olympus.

I'm not gonna lie, I'm disappointed in all aspects of the Hyperia theming. It feels lazy, tacky and underwhelming when you consider Swarm is a 5 minute walk away. I'm hoping it improves at some point.

I geniunely think the stone head of Collosus is much better than anything in Fearless Valley and its inconsistencies. The Black and gold buildings feel very sleek and out of place for a story ultimately about a goddess who forged. She forged her own wings. She forged her own bravery. Shouldnt the building look a little home made? Where are the bolts? The soldering? I want to see her anvil and hammer pride-of-place, not shoved in the corner of the station.

Cmon thorpe. Get your arse in gear.

[carbone14]

Débarquement des commandos du quartier général de la 4th Special Service Brigade à Juno Beach – Secteur Nan Red – Saint-Aubin-sur-Mer – Calvados – Normandie - France – 9 h 00 – Opération Neptune – Opération Overlord – 6 juin 1944

Photographe : Lieutenant Handford - No. 5 Army Film and Photo Section, Army Film and Photographic Unit

©Imperial War Museums - B 5218

[ruban94]

🚘 Many of you know me as a project manager in the field of transportation and logistics. Today, I’m excited to share that I’ve expanded my expertise to include Automotive Engineering.

🎓 I’m thrilled to announce that I’ve completed my studies and earned a certificate in “Automotive Industrial Engineering” from Starweaver on Coursera! Huge thanks to Lluís Foreman his invaluable guidance and support throughout this journey.

[jbeddallart]

“Ramattra - Protector of Omnic Kind”

New Big Bad of Overwatch!

Been busy learning Ramattra’s new kit and totally forgot to draw XD. I love his storyline/lore alot and cant wait to see what they do with him moving forward!

[hogwashandbalderdash]

don’t let all this harry and meghan bullshit distract you from the fact that the nhs is at its absolute breaking point, waiting lists are at an all time high, hundreds of lives are at risk for patients trying to access immediate healthcare and to top it all of we are in a cost of living crisis where parents are having to choose between feeding their kids or heating their homes. there’s people who used to get by fine who are now having to use food banks (including key workers like teacher and nurses) and all this doesn’t even scratch the surface of what we’re dealing with because our government has been dismantling every good service in this country for the past 12 years and it’s having a knock on effect on our wellbeing and communities. i am SICK of rich well connected entitled people in mansions whining about their lives while the rest of us suffer!! if it was any other time i wouldn’t mind but it is so tone deaf to do this right now. this country is breaking!!! i am not being dramatic this is serious and i am so mad!!!

[kommabortsig]

Leaving_Waverley,_cab-first_-_geograph.org.uk_-_1236603.jpg

[uniqueeval]

Prescription heroin gets green light in Canada

Story highlights Health Canada will allow doctors to prescribe heroin as treatment for severely addicted people The Trudeau government will sponsor a summit to address the issue of opioid addiction CNN  —  Health Canada has amended its regulations to allow Canadian doctors to prescribe heroin as a treatment for those who are severely addicted to the drug. Last week’s change to the Controlled…

[ham44vibes]

I need Lewis to channel his inner Prince for quali plz! Bring the purple rain and blitz the field! 🕯️🕯️💜💜🕯️🕯️💜💜🕯️🕯️💜💜 manifesting

[rangeinternationalproperty]

Dubai's real estate sector is witnessing an extraordinary surge, and at Range International Property Investments, we're excited to shed light on the driving force behind this boom: British investors. As Dubai solidifies its position as a global investment hotspot, the influx of British nationals into the UAE's property market is reshaping the landscape and presenting unparalleled opportunities for long-term growth.

[mybritishexpress]

English Speaking Practice

Solving a riddle like How to Practice English Speaking has become handier than before. First things first, there are a plethora of English language training institutes that offer training through seamless spoken English courses. Suppose, in a place like Delhi in India, British Express is one such language learning franchise where you can accomplish this feat of becoming a good English speaker in the present times. What follows after gelling with the faculty and participants of a language learning hub is English Speaking Practice. The entire time that the aspirants spend in the institute keeps them motivated to speak in English. As such they get a good turf to try and practice simultaneously all that they learn from the experts of the English language. However, before getting into the boots of speaking with fluency there are some pinpoints to take care of for commanding a fleet in all aspects of language. There are three major tasks that you need to practice ardently for carving a niche in speaking the English language. So, let us take a mental stroll through all of them below in a jiffy. 1. Listening: Never underestimate the power of listening. If you want to become a master at speaking the English language fluently then start listening to conversations in English by native speakers, listen to some of the good songs that make you feel happy, and at the same nourish your understanding of the English language in a more entertaining manner. You can even watch some good movies but remember unless you are unaware of the basic rules and concepts--that are better learned in a language school--then all this may end up being worthless. 2. Reading: read and read out loud yes... that is how you can improve your enunciation in the English language. When you join a language learning hub you get the chance to practice reading vehemently. You are encouraged to read from whatever you like. As it can be a book, a magazine, or a newspaper and you are taught the right way to emphasize the right words. After that, you can even practice the same thing at home. You can read your favourite books and blogs, letters and journals for hours and improve your personality to speak beautifully. 3. Writing: As Francis Beacon once said that reading market a man full, and writing an exact man. So, the point is what you have learned is better to write. As writing is the most eloquent way of seeking precision and decisiveness in learning any language in the world. It enriches our ability to remember and understand various aspects of language at a full stretch. So, all those aspirants who are learning English speaking should also try some writing drills for riding against all odds of inaccuracies they face. The best part of language learning hubs is that such drills are commenced each day and learners are elated to find these drills creative and beneficial. Finally, when all is done it reflects colors of charm in your personality. And, pursuing all these tasks adherently enhances your speaking abilities to get more exactness and accuracy than ever before.

[metamatar]

Employers desire foreign workers who are accustomed to the hazardous work sites of industrial construction; in particular, they specifically solicit migrants who do not have a history of labor organizing within SWANA. In response, labor brokerage firms brand themselves as offering migrant workers who are deferential. Often, labor brokers conflate the category of South Asian with docility; [...] as inherently passive, disciplined, and, most important, unfettered by volatile working conditions. "We say quality, they [U.S. employers] say seasoned. We both know what it means. Workers who are not going to quit, not going to run away in the foreign country and do as they are told.” [...]

For migrants, the U.S. oil industry presents a rare chance to apply their existing skill set in a country with options for permanent residency and sponsorship of family members. Migrants wish to find an end to their tem­porary worker status; they imagine the United States as a liberal economy in which labor standards are enforced and there are opportunities for citizenship and building a life for their family. [...] What brokers fail to explain is that South Asian migrants are being recruited as guest workers. Migrants will not have access to U.S. citizenship or visas for family members; in fact, their employment status will be quite similar to their SWANA migration.

While nations such as the Philippines have both state-mandated and independent migrant rights agencies, the Indian government has minimal avenues for worker protection. These are limited to hotlines for reporting abusive foreign employers and Indian consulates located in a few select countries of the SWANA region. [... Brokers] emphasize the docility of Indian migrants in comparison to the disruptive tendencies of other Asian migrant workers. [...] “Some of these Filipino men you see make a lot of trouble in the Arab countries. Even their women, who work as maids and such, lash out. The employer says one wrong thing and the workers get the whole country [the Philippines] on the street. [...] But you don’t see our people creating a tamasha [spectacle] overseas.” [...] Just as Filipinx migrants are racialized to be undisciplined labor, Indian brokers construct divisions within the South Asian workforce to promote the primacy of their own firms. In particular, Pakistani workers are racialized as an abrasive population.

[...] While the public image of the South Asian American community remains as model minorities, presumed to be primarily upwardly mobile professionals, the global reality of the population is quite to the contrary. [...] From the historic colonial routes initiated by British occupation of South Asia to the emergence of energy markets within the countries of SWANA, migrants have been recruited to build industries by contributing their labor to construction projects. Within the last decade, these South Asian migrants, with experience in the SWANA oil industry, have been actively solicited as guest workers into the energy sector of the United States. The growth of hydraulic fracturing has opened new territory for oil extraction; capitalizing on the potential market are numerous stakeholders who have invested in industrial construction projects across the southwestern United States. The solicitation of South Asian construction workers is not coincidental. [...] Kartik, a globally competitive firm’s broker, explains the connection of Indian labor to practices of the past. “You know we come from a long history of working in foreign lands. Even the British used to send us to Africa and the Arab regions to work in the mines and oil fields. It’s part of our history.”

Seasoning Labor: Contemporary South Asian Migrations and the Racialization of Immigrant Workers, Saunjuhi Verma in the Journal of Asian American Studies

[heritageposts]

In his seminal The Wretched of the Earth, Frantz Fanon could be writing about Gaza when he said: “In all armed struggles, there exists what we might call the point of no return. Almost always it is marked off by a huge and all-inclusive repression which engulfs all sectors of the colonial people.” In Israel, Gaza and the West Bank, that point has arrived. From Gaza to the Red Sea, on all fronts the West is now unmasked as a lawless killing machine in terror of losing control. Genocide, starvation and war, defended with Olympic-level diplomatic double-speak, are its only answers to the fact that the Global South, and the nations of the Middle East (if not their leaders) no longer wish to live under US hegemony. Jean-Paul Sartre, in his preface to Fanon's work, wrote of western colonialism: “Our Machiavellianism has little purchase on this wide-awake world that has run our falsehoods to earth one after the other. The settler has only recourse to one thing: brute force… the native has only one choice, between servitude and supremacy.” Fanon was a revolutionary thinker and a practising psychiatrist of colonial racism and its psychic impact on the colonised, and the coloniser. He and Sartre were writing about France’s imminent defeat in Algeria after seven years of brutal war. [...] Western powers are involved in conflicts thousands of miles from home, as they were in Fanon's time in Algeria, Congo and Indochina. Today the western political class has united behind Ukraine and Israel, but for millions of people it is no longer clear that the wars are worth fighting.  As Yemen’s spokesman, Mohammed al-Bukhaiti, put it: “The war today is between Yemen which is struggling to stop the crimes of genocide, and the American and British coalition [who] support its perpetrators. Every party or individual in this world has two choices that have no thirds… who do you stand with as you watch these crimes?” Fanon, writing 63 years ago, agrees: “The colonial world is a Manichaean world�� at times this Manichaeism goes to its logical conclusion and dehumanises the native, or to speak plainly, it turns him into an animal. The native is declared insensible to ethics; he represents not only the absence of values, but the negation of values… he is the enemy of values, and in this sense he is the absolute evil. “The native knows all this, and laughs to himself every time he spots an allusion to the animal world in the other’s words. For he knows he is not an animal, and it is precisely at the moment he realises his humanity that he begins to sharpen the weapons with which he will secure victory.”

. . . full article on MEE (1 Feb 2024)

You can also find a free copy of Fanon's The Wretched of the Earth on the Internet Archive (available as a PDF, EPUB etc.)

[museum-spaces]

There has been a recent surge in repatriation/give everything back posts in Museum Tumblr so I thought I would share a story I found out about recently.

Background; I did some volunteer work for the Canadian Museum Association that included looking pretty in depth at a few exhibitions from 2023. One of them really caught my eye because it goes into an aspect of Originating Cultural Relationships that I don't see reflected in the public sector a lot even though its not that uncommon among my coworkers.

So back in the 1860s the Prince of Wales was gifted a series of baskets from the Michi Saagiig [Mississauga] women. These were a gift and have remained in the Royal Collection Trust ever since.

It is agreed upon by all parties that the Royal Collection is doing a good job caring for the baskets. However, the baskets still represent the women, the ancestors, who made them. They are family. And the living Michi Saagiig missed their grandmothers and aunts.

So the Peterborough Museum and Archives [Peterborough Canada, not the one in the UK] worked out a temporary loan from the Royal Trust Collection to bring the ancestors back 'for a visit' to their ancestral lands of Nogojwanong-Peterborough.

This was facilitated by the Museum, but the partnership was multi way, between Hiawaitha First Nation, Mississauga Nation, Museum, and the Trust.

This exhibition ran from April to November last year and was ALWAYS meant to be a 'visit' - that language is deliberate. The baskets came home for a visit before returning to their new home in the UK.

here's an article about it

Now, from a layman's perspective this might seem like a small victory - the baskets, the makakoons, didn't even stay in Hiawatha which is the modern location of the village they were made in. And it was only a few months, but still cool. Still pretty neat.

But from my perspective this is MASSIVE. This means that the ROYAL FAMILY has agreed to send things home - at least on the short term. This will bring about change in British collection law. It won't be quick. But we will see more and more British institutions sending things on visits. And eventually we will see repatriation. It is going to take a very long time, and this is by no means the first rung on the ladder. But

THE MAKAKOONS CAME HOME FOR A VISIT

[aithusarosekiller]

Can't wait for when everyone stops making all the marauders American and instead focuses on the fact that Lily (+severus) was raised in an industrial midlands town in the years between WW2 and Thatcher. And then choose to think about how that may have impacted her life as someone who was raised in a lower-middle class family who likely had dangerous jobs in the industrial sector while her schoolmates for from ancient prestigious bloodlines who hated her for existing.

Or that the fact despite his parents being well-off, Remus as an outcast is a stereotype of the entire British working class and the way the government will always blame minorities or those on benefits as a way to keep them down and maintain power, ESPECIALLY when he grows up and has to scramble to keep his life together, as many council-housed Brits have to do

Or how the black brothers and James were both raised in really posh parts of the south. The black traditional family being strategically placed in a rich borough of London, only a small drive from Westminster itself to reinforce the way their family uphold and push for oppressive traditional values, mainly at the expense of those in typically poorer areas (like the midlands and north). James was likely raised in a large, wealthy rural area with a great separation from the rest of society, allowing him to form as an arrogant boy, disconnected from the rest of society until he was in school.

But that's probably never gonna happen tbf

[sleepynegress]

Black actor who faced abuse over role in Romeo & Juliet calls for industry-wide action

Francesca Amewudah-Rivers, who played Juliet alongside Tom Holland’s Romeo, says racist abuse went on for months

The actor Francesca Amewudah-Rivers, who received a barrage of online racial abuse after being cast in a production of Romeo & Juliet this year, has called for industry-wide action to protect black and brown actors.

The abuse aimed at Amewudah-Rivers began after the Jamie Lloyd Company theatre group announced the cast of its production in April, with Amewudah-Rivers to play Juliet and the Spider-Man star Tom Holland playing Romeo.

Amewudah-Rivers has revealed she also received hate mail, and that she did not feel safe while working on the play, her West End stage debut, at the Duke of York’s theatre.

“There were many days where I didn’t know how I was going to get through it,” she told the Stage. “The flurry of abuse was sustained throughout the whole job. I received death threats, hate mail sent to the theatre. I didn’t feel safe at work.”

‘Too much to bear’: Black actors condemn racial abuse of Romeo & Juliet starRead more

The 26-year-old, who was nominated at this year’s Black British theatre awards, said the minimal set and closeup camerawork of the production made her feel “very exposed” on stage. “Off the back of the abuse, having to stare down the camera lens and have my face be blown up in this theatre was really tough mentally,” she said.

Amewudah-Rivers said the harassment also affected her family and friends, as well as the show’s cast, crew and producers at the Jamie Lloyd Company, who condemned the initial abuse in a statement on social media at the time and said further harassment would be reported.

The incident led to an open letter of solidarity with Amewudah-Rivers being signed by more than 800 predominantly black female and non-binary actors – including Lashana Lynch, Sheila Atim, Marianne Jean-Baptiste, Lolly Adefope, Freema Agyeman, Wunmi Mosaku and Tamara Lawrance.

Amewudah-Rivers described her experience as an “incredibly tough” induction into the West End. She said: “I know what it means to move through life in a black body. Racism is something we have to navigate every day, so I was very aware of the potential for something like this to happen.

“I think what I was unprepared for was how long it went on for, and also having to navigate it while doing the job. It was four months of battling against this energy, and it’s something I still have to deal with. I really had to reckon whether it was worth it, this sustained feeling of duress.”

The actor called for “broader conversations industry-wide” about the protection of global-majority actors and said it was “not enough to represent our communities on stage, there also needs to be an infrastructure of support”.

“Safety has to be at the forefront. We can’t do our best work if we don’t feel safe, if we don’t feel held, if we don’t feel understood,” she said. “I think more needs to be done, especially because I know I’m not alone. I know other actors who have had similar experiences, more recently, too.”

According to Amewudah-Rivers, the response to her casting showed how the UK theatre sector was still lagging behind in terms of onstage racial diversity.

“For it to cause such outrage that I was cast in this role means we have a long way to go. Theatre has a legacy of community, it should represent society. Especially in London – there’s a big black British community here and in the UK. It shouldn’t be a surprise. Our histories as black people have been erased. It’s about re-education. I’m not the first black Juliet, and I won’t be the last.”