#Indian Navy Training

[manasastuff-blog]

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[defencecapital]

India buys HAL-made gunships for $7.3 billion, boost military against China, Pakistan

By N. C. Bipindra New Delhi: India‘s Ministry of Defence (MoD) on Mar. 28, 2025, signed two contracts with state-run Hindustan Aeronautics Limited (HAL) for the supply of 156 Light Combat Helicopters (LCH), also called Prachand, along with training and other associated equipment worth INR 62,700 crore (US$7.3 billion), excluding taxes. The two contracts split the Prachand orders between the…

[townpostin]

Jamshedpur Flying School License Suspended After Fatal Crash

DGCA halts Alchemist Aviation operations following audit; two lives lost in accident The DGCA suspended Alchemist Aviation’s license after a fatal crash and subsequent audit revealed serious safety issues at the Jamshedpur-based flying school. JAMSHEDPUR – Following a tragic aircraft crash and safety audit, the DGCA has suspended the operational approval of Alchemist Aviation, a flying training…

[mitskicain]

navi | m.list

. ⁺ . ✦ the doghouse — ken sato x reader

© mitskicain all rights reserved. the modification, translation, and plagiarism of my work is strictly prohibited.

synopsis: date night; you talk about dealbreakers and what you want out of life, and each other.

content warning: cursing and profanity, suggestive, innuendos

word count: 1.4K

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003: play date

He arrives fifteen minutes early, with Indian, Chinese, Italian and Japanese takeout.

“I didn’t know what you liked,” he says, letting himself in and kicking his shoes off by the door, setting the bags on the counter. “So I got a little bit of everything.”

You stare at the food with a bewildered look in your eyes. This would last you the whole week. What the hell is this guy—made of money? Well, okay, granted his apartment and how he didn’t even ask you for the 400 bucks back suggests maybe, but christ, doesn’t he have other things he should be spending this on, like supercars or thousand dollar clothing?

Your train of thought is interrupted by him shoving you a greasy tub of butter chicken, alongside some garlic naan with a side of udon noodles. Interesting combo. You take your seat on the floor, setting the food on the shallow coffee table that’s littered with unopened mail and receipts.

“Do a lot of shopping?” He asks, mouth full of lasagna—he’s already chowing down on the food without as much as waiting for you to have taken your first bite. What a gentleman.

“No, well, not for me,” you reply, pushing around the food on your plate, “it’s for them.” You point towards your two dogs that are eyeing him keenly from behind the screen door, their eyes a flash of light in the dark. From a stranger's perspective, they must look absolutely vicious, but to you they were just Lassie and Strauber—from childhood, from the old days.

“Mm,” he hums, taking a sip of his Diet Coke. “Not much of a dog person, I’m afraid.”

You make a face.

“Date’s over, eugh,” you say, “dealbreaker.”

The both of you laugh, faces cracking up and all teeth—a flash of canines, again—something in your stomach churns.

“Seriously?” You ask, looking over at Ken who’s still hunched over, trying to stifle his laugh. “How could you say no to dogs?”

“I got chased by one as a kid, I guess it stuck.” he says, scooping up another mouthful of lasagna. He motions over to the two, “they bite?”

“Hard,” you grin, reminded of the time you asked him the same question. “When they bite, they don’t let go.”

He grimaces a bit, imagining the bloody, messy scene. You dip the naan in the curry, mopping up all its goodness. Ken devours his plate, and reaches for more—it’s a disgusting sight, like he’s been starved for days—but there’s something fulfilling about it too, like watching Strauber absolutely demolish a serving after you run an extra mile with her.

“You’re a mess,” you say, leaning forward and wiping a sauce streak away from the edge of his lip. You see the surprise on his face when your finger meets his skin, like he doesn’t expect it—didn’t know you were capable of being tender. Part of you didn’t expect it either.

Silence for a moment; the atmosphere still. The two of you realize you barely know anything about the other. You were just two strangers sharing a meal in your apartment.

“I read some of your stuff from the dayplanner,” he says, clearing his throat, hand on the back of his head. “It’s really good, I mean—you’re a writer?”

You give him an incredulous look, and laugh, shaking your head.

“No, not me, well—” you set the plate on the table and reach for your drink, some Indian rose milk he picked up that actually tasted really good, “not yet, at least. I’m hoping to make my big break soon.”

Silence, again—just for a second.

“You’ll make it,” he says, voice soft, looking over at him. His head is resting on the cushion of the couch, hair messy and cheeks slightly warm. Did he run on the way here? From restaurant to restaurant, trying to figure out what you would like before deciding: fuck it, and getting everything? You feel his fingers twitch slightly, inching towards yours. You turn away and wrap your arms around yourself.

“Don’t do that,” you struggled to pinpoint the feeling—the twisting, the churning—it made you feel sick, like you wanted to puke. The world seemed to spin. “Don’t look at me like that.”

“Like what?”

“Like you believe in me,” your voice falters. “It’s cruel, you know—giving false hope.”

He presses his lips into a thin line. He reaches for your hand again, this time you turn to look at him.

“I do mean it.” He says.

God.

You tear your gaze away from him—it’s too much, all of this. You can’t possibly comprehend it. His fingers tuck a strand of hair behind your ear. You reach for his hand and look up at him—his eyebrows furrowed, gray irises shimmering in the low light, mouth slightly open.

“Hey,” he breathes, voice just barely above a whisper.

“Hey,” you reply.

“Am I still just a one night stand?” He asks, and your stomach sinks. You frown a little.

“What does it matter?” You ask.

“Because I want to be more than just that,” he says, quick and easy. He sucks in a breath, as if preparing himself. “I want you.”

Your shoulders fall, and you lean forward into him, his lips finding the sensitive skin on your neck; nibbling and sucking. You squirm underneath his touch.

“Please,” he sighs in between kisses, his breath hot against your ear. “Please.”

His teeth sink into your flesh, followed quickly by his tongue rubbing soothing circles, then a kiss—like apologizing. He does this throughout the entirety of your neck, from underneath your jaw all the way along your collarbone. Your skin is slick with saliva and sweat, face red from the heat. Your hands find their way up his neck, when they grab a handful of his hair—you hear him moan.

God, the way he sounded.

“Please,” he says again, begging. Breathlessly. Desperately. “Please, I’ll be good.”

You whine, and push him away, trying to catch your breath. He falls back but catches himself by his arms, biceps flexed and straining underneath the black shirt he wore. It’s tight enough that you can make out the rouse of muscles underneath. His face is flushed, eyes half lidded, mouth open—breathing shallow. What a sight.

God.

He’s about to lean forward to reach for you again when he knocks over the half full cup of rose milk all over you, splattering all across your legs and the floor. His face twists into a look of panic, and he frantically grabs a fistful of tissues, trying to dab away at the mess before you change your mind or yell at him.

“Stop,” you say, and he freezes in his tracks, looking up at you. You tilt your head, gauging his reaction—the way he looks up at you with wide curious eyes, arms still frozen in position, so eager to please—like a dog.

“You said you’d be good, right?” You murmur, leaning back, “then clean this up.”

He tries to wipe at the mess but you stop him again, making a sharp ‘tsk’ sound with your tongue. He stops, perplexed gaze fixed on you, trying to figure out what you mean. You smile at the sight and raise a pointed foot, his hands instinctively reaching for the flesh of your calves.

“Lick,” you command, a glint in your eye. He stays still for a moment—breath hitched in his throat—before leaning down, eyes still fixed on you, and kisses the skin of your legs. His tongue is warm, gliding over you in slow strokes, sending shivers up and down your spine. You can feel the soft, velvety texture of him as he moves upwards, savoring every inch of you. The sensation is both soothing and electrifying. A mix of gentle pressure and lingering heat.

You lean forward, and push him back again, his back against the couch. He’s surprisingly lenient, not struggling when you climb onto his lap and straddle his hips. You trail your hands on his chest and you feel his heart, thundering against his ribcage. His hands feel up the milky skin of your thighs, resting on your waist.

“Please,” he says again, so close you can feel his breath on your lips. “Please, I want you.”

You grab his hands off your thigh and pin them by his side, a gasp escaping his lips. Your other hand grabs his face roughly, forcing him to look at you before you turn his head to press a wet trail of kisses up his jaw. He shivers and moans underneath your grasp.

“Mmm,” you hum into his skin, pulling away to whisper in his ear. “I love it when good boys beg.”

prev | next

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author’s note: Lassie and Strauber watching you make out with him from out the backyard be like 👁️👄👁️ HAHAHAHAH i love men when they beg and yearn like 💥💥 need him crawling, sobbing on his knees 🫡🫡‼️‼️‼️ my favorite genre of men is when they’re a little bit pathetic HEHEHEH🤭🤭🤭🤭 BUT ALSO‼️‼️ I wanted to ask: do you guys have any specific dealbreakers when it comes to dating? Like for me I absolutely can’t stand when they’re rude to staff like waiters or salespeople 😭😭🙏 or when they’re messy eaters—what about you guys?? feel free to share them in the comments, and as always, thank you for supporting my work ‼️‼️‼️‼️ MUAH MAUHHH👩‍❤️‍💋‍👩👩‍❤️‍💋‍👩👩‍❤️‍💋‍👩

taglist: @luneariaa @moonjellyfishie @sweetcheeksbby-deactivated20240 @shittingonyourgrave @shauu @witcwitchy @fcklxnaa @despacito-uwu16 @mqshido @miffysoo @ybbayk @hore4ken @mochminnie @femmefqtqle @miratastic @lovingyeet @mythicalmo @yourfellowmarzipan @softdumplingposts @shinebright2000

[inthedayswhenlandswerefew]

Where Will All The Martyrs Go [Chapter 4: Read Between The Lines]

Series summary: In the midst of the zombie apocalypse, both you and Aemond (and your respective travel companions) find yourselves headed for the West Coast. It’s the 2024 version of the Oregon Trail, but with less dysentery and more undead antagonists. Watch out for snakes! 😉🐍

Series warnings: Language, sexual content (18+ readers only), violence, bodily injury, med school Aemond, character deaths, nature, drinking, smoking, drugs, Adventures With Aegon, pregnancy and childbirth, the U.S. Navy, road trip vibes, Jace is here unfortunately.

Series title is a lyric from: “Letterbomb” by Green Day.

Chapter title is a lyric from: “Boulevard Of Broken Dreams” by Green Day.

Word count: 5.6k

💜 All my writing can be found HERE! 💜

Let me know if you’d like to be added to the taglist 🥰

It is your first week of basic training at Great Lakes on the north side of Chicago, and as you lie in the top bunk of your assigned bed you wonder what the hell you’ve done. You enlisted right out of high school, eighteen, no driver’s license, no work history, never been more than fifty miles outside of Soft Shell, Kentucky. The drill sergeants are always yelling and you’re bad at push-ups; you can’t understand the recruits from big cities like Los Angeles, Miami, Las Vegas, Detroit, Houston, and they don’t seem to get you either, and aren’t interested enough to try. Sometimes you wish you hadn’t signed that five-year contract, but where would you be if you weren’t here? Home is not words but textures, colors, fumes that still burn in your sinuses: cigarette ash on rose pink carpets, red embers glowing in the wood stove, Hamburger Helper and Mountain Dew, coffee creamer in Hungry Jack potatoes, laughter and heavy footsteps and slamming doors, scratch-off games, dogs barking, collecting coins from couch cushions for gas money, scrubbing clothes in the bathtub when the washer quits, Mama taking gulps from her favorite cup—plastic, Virginia Beach, filled with equal parts Hawaiian Punch and vodka—when she thinks no one is looking, blue shows flickering on the television, Family Feud, Maury, Good Morning America, WWE SmackDown. For as long as you can remember you’ve known you couldn’t stay. Now you’re getting out, but nothing in life is free.

You are at Class A Technical School in Gulfport, Mississippi, and even though it’s hotter than some noxious, volcanic hellscape—Mercury, Venus, Io—you are beginning to like it. You taste the salt of sweat when you lick your lips, sugar in the sweet tea they serve in the chow hall. There’s a magic in building something where there was only empty space before, in patching roofs and painting walls. Here being quiet and watchful is exactly what they want from you: head down, hammer striking nails, measurements and angles and long hours under the sun with no complaints. You’re not just running away anymore. You are creating something new.

You are sitting beneath swaying palm trees and a full moon on Diego Garcia, draining cans of Guinness with Rio, and he’s telling you things he shouldn’t, too personal, too honest: Sophie wants to try for a baby next time he’s home on leave, and part of him wants that too but he’s terrified. As thunder rumbles in the distance and raindrops begin to patter on the waves of the Indian Ocean, you tell Rio you think he’d be a good father. He wonders how you figure that, and you say because he’s not like any of the men from home. He gives you one of his crooked smiles—a flash of teeth, knowing dark eyes—and doesn’t ask what you mean.

But of course, when you swim up from the inky currents of sleep you are in none of these places. You are curled up on the floor of a bowling alley in Shenandoah, Ohio, cheap worn black carpet peppered with stars and swirls in neon green, pink, blue. You stretch out with a yawn. Someone has left a Lemon Tea Snapple within reach; you twist it open and guzzle it, hoping to extinguish the pounding in your skull, a rhythmic thudding of warm maroon, half Captain Morgan and half misery. The music isn’t helping. From the green Toshiba CD player, a man is singing in Spanish. Aegon and Rio are sitting at the nearest table and playing Uno.

Aegon says as he ponders his cards: “You know Enrique Iglesias, right Rio?”

“You are so racist.” Rio puts down a wild. “And the new color is red. Racist.”

“So what’s he saying?”

“Aegon, buddy, I told you, I was born here. My grandparents came over in the 60s. I don’t speak Spanish.”

“You can’t understand any of it?” Aegon is skeptical. He plays a skip, a reverse, and a seven. “My dad never taught me a word of Greek but I can recognize plenty of phrases. Vlákas means idiot. Spatáli chórou is a waste of space.”

Rio sighs, relenting. He puts down a two. “The song is called Súbeme La Radio, Turn Up The Radio For Me. Bring me the alcohol that numbs the pain… I don’t care about anything anymore…You’ve left me in the shadows…”

“Damn, now I’m sad. Draw four, bitch.”

“When the night comes and you don’t answer, I swear to you I’ll stay waiting at your door…” Rio studies his cards. “What’s the new color?”

“Green.”

“Yes!” Rio slams down a skip. “Fleeing from the past in every dawn, I can’t find any way to erase our history…”

Everyone else is awake already. As muted late-morning daylight streams in through the small tinted windows, Aemond is weaving between tables, pointedly checking on each person. He glances at you, says nothing, turns around and walks the other way.

“That’s tough,” Rio says sympathetically, popping open the tab on a can of Chef Boyardee and shoveling ravioli into his mouth with a plastic fork.

Aegon gives you a smirk. “You want to fake date now?”

“I’ll think about it.” No you won’t.

Helaena appears, a prairie girl vision in a modest blue sundress and with her hair tied back with a matching scarf. She reaches into her burlap messenger bag and offers you a choice between a ranch-flavored tuna pouch or a silvery pack of Pop-Tarts. “Strawberry,” she tells you.

“I’ll take the Pop-Tarts.”

Helaena gives them to you and then shakes a bottle of Advil. You’re so groggy it takes you a few seconds to figure out what she wants, then you obediently hold out a hand. Helaena lays two tablets in the center of your palm and moves on, soundlessly like a rabbit or a spider.

You wash the pills down with Snapple. As you nibble half-heartedly on a Pop-Tart—trying not to look at Aemond, multicolored sprinkles falling down onto the carpet—your eyes drift to the tattoo on the underside of Aegon’s forearm. It’s not over ‘til you’re underground. You’ve spotted it before. Only now do you remember where you recognize the lyric from. “Is that Green Day?”

“Yeah,” Aegon says, enthused that you noticed. “Letterbomb.”

“I love that whole album.”

“Me too. I could sing it front to back if you asked me to.”

“I’m not asking.”

Aegon cackles and resumes his Uno game with Rio. Baela is wearing denim shorts and a crop top, slathering her belly with Palmer’s cocoa butter from Walmart as she chats with Rhaena and eats Teddy Grahams. Daeron is waxing the string of his compound bow. Jace is gnawing on a Twizzler as he scrutinizes Aegon’s map, annotated with Xs and circles and arrows in sparkling gel pen green.

“I’m going to be a thousand years old by the time we get there,” Jace mutters.

Aegon hits the table with his fist. The discard pile collapses and cascades, an avalanche of Uno cards. Rio, undisturbed, continues contemplating his next move. “You know what, Jace? The cities are full of zombies, the interstates are blocked by fifty-car pileups, if we bump into anyone else who’s still alive they’re just as likely to rob and murder us as want to be friends, and on top of all that I’m trying to do you the favor of preventing you from getting so irradiated you turn into Spider-Man. If you have a better route in mind, I’d love to hear it.”

“Spider-Man…? You’re such a dumbass, what are you talking about?!”

Luke says from where he stands by a window: “Aemond, someone’s outside.”

“What?” Aemond stares at him. “Zombies?”

“No. People.”

Aemond bolts to the doors, the rest of you close behind him. Rhaena turns off the CD player. You, Rio, and Aegon squeeze together to peer out of one of the windows. There are men—three of them, no, four, all appearing to be in their forties—passing by on the main road through town. They are armed with what are either AR-15s or M16s, you can’t tell which.

Rio whistles. “If you get shot by one of those, the exit wound will be the size of an orange.” Everyone looks at him. This was not an encouraging thing to say.

You elaborate: “Thirty-round magazines. Semiautomatic, assuming they’re AR-15s for civilian use. I guess they could have gotten ahold of M16s somehow. Those have a fully automatic setting.”

“So regardless, we’re out-gunned,” Jace says.

“If they know how to use them. Some men think guns are wall decorations, like deer heads or fish.”

Aegon recoils. “Fish?! What the fuck. I’m glad the colonies left.”

“Maybe they’ll keep walking,” Daeron says hopefully. One of the men stops and points at the bowling alley, saying something to his companions. They laugh and begin crossing the small parking lot. They are less than two minutes from the door. “Oh, great…”

“There’s an emergency exit in the back,” Baela says.

Aegon snorts. “Yeah, that we stacked about twenty boxes of bowling pins in front of to zombie-proof.”

“We won’t be able to get out before they hear us,” Aemond says. Then he abruptly orders: “Grab your guns, let’s go. Helaena, Baela, Rhaena, you’re staying here.” Aemond’s remaining eye—briefly, reluctantly—skates over you as Rio, Aegon, Jace, Luke, and Daeron scatter to obey him. “You too.”

“But I’m the best shot.”

“I don’t want them to know we have women with us.”

“I’m of more use to you outside.”

Aemond rips his Glock out of its holster, pointing it at the floor. His frustration is palpable, an electric shock, heat that refracts light rays until they become mirages on the horizon. “You’re going to stay here, and if a stranger comes through those doors you’re going to kill them. Okay?”

His urgency stuns you; his eye is blue-white summer storm lightning. “Okay.”

“Now get back.”

You soar to the nearest table, duck under it, reach for your Beretta M9 and double-check the clip, fully loaded. You click off the safety.

“Aemond, wait, let me go first,” Aegon is saying by the door. “I’m better at de-escalation, I’m less…uh…intimidating.”

“Less socially incompetent, you mean,” Jace quips.

“I’ll lead,” Aemond insists. “Aegon can talk. Rio, you’re up front with me.”

Rio pumps his Remington 12 gauge. “I’d be delighted.”

Jace is amused. “I’ve been demoted, huh?”

“He’s bigger,” Aemond replies simply, then opens the door and vanishes through a blinding curtain of daylight. The others follow closely; Daeron, the last one out—his compound bow in hand, the strap of his Marlin .22 slung over his shoulder—shuts the door behind him.

Very faintly, you can hear Aegon: “Hey, guys! What’s happening? How’s the apocalypse treating you…?”

Baela, Rhaena, and Helaena are under the table with you. They deserve to have options. You tell them: “If you want to go hide behind the lanes or try to get out the back door, now’s your chance.”

Helaena shakes her head, clutching your t-shirt: black, Star Wars, pawed off a shelf at the Walmart. “I want to stay with you.”

“Same,” Baela says determinedly, gripping her Ruger. She barely knows how to use it, but she’ll try. Rhaena is shaking, her eyes filling up her face, small fragile bones like a bird’s.

You can’t hear voices from outside anymore, but there are no gunshots either. You keep your M9 aimed at the doors, your breathing slow and deep, your heart rate low. Your hands are steady. Your eyes hunt for the slightest movement, for the momentary shadow of someone passing by a window. Against your will, your thoughts wander to Aemond. I hope Aegon is on his left side. Aemond can’t see there.

“Rhaena, get your gun out,” Baela says sharply. “Come on. Turn the safety off. What if you were alone right now? What if we weren’t here to protect you?”

Rhaena nods, fumbling to free her revolver from its holster. “I’m sorry…I’m trying…”

Now there is a stranger’s voice, gruff and deep. He must be just beyond the door, the farthest one to the right. There is a creak of hinges, a sliver of sunlight. “That’s just too damn bad, fellas. You got a nice little hideout here, and you’re gonna have to share it—”

The door opens. Two unfamiliar faces, too shellshocked to raise their rifles in time. You close an eye, line up your sights, fire twice, and that’s all it takes: one headshot, one in the throat, blood like a fountain, spurting scarlet ruin, thuds against the carpet strewn with neon stars, gurgling and spasms as their brains send out those final electrical impulses: danger, catastrophe, apocalypse. Rhaena is screaming. Helaena is covering her ears with both hands.

You run to the doorway; there are more booms of gunfire out in the parking lot. You cross into the late-morning light to see the other two men on the pavement: one with an arrow through the eye, the other with a gaping, hemorrhaging hole where his heart once was. Rio is admiring his work, holding his shotgun aloft. He scoops a handful of Cheddar Whales out of his shorts pocket and shovels them into his mouth.

“Goddamn, I love Remington Arms Company.”

“Oh, that was awesome,” Aegon says, wan and panting, hands on his waist. “Yeah, that was…that was…” He bends over and vomits Snapple and Cool Ranch Doritos onto the asphalt.

“Everyone okay in there?” Rio asks you.

“Yeah.” Behind you, Baela, Rhaena, and Helaena are stepping through the doorway. Your thoughts are whirling sickly: I killed someone. I killed someone. “They wouldn’t leave?”

“We told them the bowling alley was ours,” Aemond says, not looking at you. “We asked them very politely to keep moving. They chose to try to intimidate us into letting them stay. They weren’t good people, and these are the consequences.”

You click on the safety and re-holster your M9. You’re wearing Rio’s on your other hip. They seem to weigh so much more than they did ten minutes ago. I’m not supposed to be a killer. I’m a builder.

“Aegon, are you okay?” Daeron asks, a palm on his brother’s back.

Aegon retches again. “Shut up. You can’t even buy fireworks.”

“Zombies.” Luke is peering through his binoculars. “Not many, just two. Way up the road.”

“There will be more.” Baela’s cradling her belly; you don’t even think she’s aware of it. “They heard the gunshots, the sound carries for miles.”

“We’re leaving,” Aemond says. “Right now. Everyone get your things.”

As backpacks are hastily zipped and Daeron and Aegon stand guard in the parking lot, you kneel down beside the men you murdered and check their rifles. They are M16s, either stolen or illegally purchased: there’s a little switch by the trigger to choose between semi-automatic or the so-called machine gun mode.

“They barely had any bullets left,” you tell Rio. Just like us when we were trapped on that transmission tower.

“Yeah, same story for the other two guys. Four bullets in one magazine, a half dozen in the other. But it only takes once. We don’t have any ammo that will work with M16s, do we?”

“No, we definitely don’t.”

“Fantastic. Well, we’ll throw them in a Walmart cart and take them with us just in case.”

You’re staring down at the man you shot through the head. His eternal resting place is a puddle of blood and brains in a bowling alley in rural Ohio; surely no one deserves that. “He was a real person,” you say, dazed. “Not a zombie. Just a person.”

“Hey.” Rio grabs your shoulders and spins you towards him. From where he is helping Luke gather up the remaining food, Aemond’s head snaps up to watch. “You hurt him before he could hurt us. You did the right thing.”

“Sure.”

“I killed a dude too. I blew his heart right out of his chest. You think I’m going to hell for that?”

“No,” you admit, smiling. “And if you’d be there with me, I guess I wouldn’t mind so much.”

Rio grins, wide and toothy. “Well alright then. Let’s finish packing.”

The ten of you depart from Shenandoah, Ohio heading northwest on Route 603 just like Aegon marked on his map, Jace chauffeuring Baela in one shopping cart, Rio pushing another loaded high with food and M16s.

“It looks like rain,” Helaena says.

Everyone else peers up into a clear, cerulean sky, wondering what she means.

~~~~~~~~~~

You’re a few miles north of Shiloh when the storm rolls in, cold rain and furious wind, daylight that vanishes behind dark churning thunderheads, jagged scars of lightning in an opaque sky. The road is only two lanes, surrounded by fields of wildflowers and ravaged crops and untilled earth; it would look like the patchwork of a quilt if you were gazing down from an airplane, but of course the FAA grounded all flights over a month ago when the world went mad: Revelations, Ragnarök, the fabric of the universe unweaving as death burned through families, cities, nations like a fever, like plague.

“Maybe we should cut across one of these fields,” Jace says, pointing. He is soaked with rain; it drips from his curls, runs into his eyes. Baela is in her cart again; each time she tries to get out and walk, she’s gasping and can’t keep up within half an hour. You’ve all taken turns pushing her, much to Baela’s dismay. She’d be humiliated if she wasn’t too exhausted to keep her eyes open.

“Here, let me do it,” you offer, and Jace gratefully relinquishes the cart. Baela gives you a frail wave of appreciation.

“We stay on the road,” Aemond insists, flinching as rain pelts his scarred face. “Farmhouses have driveways and mailboxes, we’ll pass one eventually. If we lose the road, we might not be able to find it again. We’ll end up wandering around in circles in the woods.”

“Just like the Blair Witch Project,” Aegon says glumly, his Sperry Bahama sneakers audibly soggy.

“There!” Luke announces, spotting something with his binoculars. “Up ahead on the left. Past the bridge.”

You can’t see what Luke does until there is an especially brilliant flash of lightning: a farmhouse, old but seemingly not derelict, and with a number of accompanying buildings, guest houses and stables and barns and towering silos.

“Home sweet home!” Rio says. “And I don’t care if I have to kill a hundred of those undead bastards to get in, it’s mine.”

“Well, hopefully not a hundred,” you reply, in better spirits now that a sanctuary has been found. Aemond keeps glancing back at you as you push Baela’s cart. If he wants to say something, he’s doing a good job of resisting the temptation. “We don’t have that much ammo.”

There is a concrete bridge over a river, probably unremarkable and only five or ten feet deep normally but now torrential with rain. Water rushes by beneath, a muddy incline on each side as the earth rises back up to meet the road. A reflective green sign proclaims that you are only two miles from Plymouth, which Aegon plans to skirt along the edges of. It’s a decent-sized town; he thinks you might be able to find a car to steal there, something with gas in the tank and keys on a hook just inside the house.

“I call the master bedroom,” Jace says craftily, rubbing his palms together. You’re near the center of the bridge now, another ten yards to go. “Nice big bed, warm cozy blankets, and I was up for half of last night keeping watch so tonight I am off duty, I am a free man, it’s going to just be me and my girl and eight glorious uninterrupted hours of sleep—”

Rhaena shrieks, and then you hear it over the noise of the storm, pounding rain and rumbling thunder: moans, growls, hisses like snakes. Not one zombie. A lot more than one. They’re crawling up from under the bridge, from the filthy quagmire at both ends. There was a hoard of them waiting, aimless, dormant, almost hibernating. But now they are awake. They are grasping for you with bony, dirt-covered claws. They are snapping with jaws that leak blood and pus and bile as their organs curdle to a putrid soup.

“Get off the bridge!” Aemond is shouting. He has his Glock in his right hand, a baseball bat in his left. He’ll shoot until he’s out of bullets, and then, and then…

Rio helps you get Baela out of the cart, then opens fire. His Remington doesn’t just pierce skulls, it vaporizes them. When he’s out of shells—there are more in his backpack, but no time to reload—he yanks the M16s out of the other Walmart cart and empties each of them, mowing down zombies as the rest of you scramble across the bridge. All around you are explosions of gunshots, thunder, lightning, zombie skulls crushed by bullets and blunt force trauma. Baela is firing her Ruger as you half-drag her, one arm hooked beneath hers and around her back. When the last M16 is empty, Rio starts clubbing zombies with the butt of it. You’ve all reached the north side of the bridge, except…

“Fuck off, you freaks!” Jace is screaming. They’ve backed him up against the guardrail, a swarm of ten or more. His Remington shotgun is out of ammo; he’s swinging it wildly, but he doesn’t even have enough room to maneuver. There are still more zombies emerging from under the bridge. You can hear them snarling and groaning. You swipe an M9 off your belt and put a bullet in the brain of a zombie as its fingers close around your ankle, then you start picking off the ones mobbing Jace. You aren’t fast enough. As they lean in to bite him, teeth gnashing at the delicious throbbing heat of his jugular, Jace throws himself over the barrier and into the surging water below.

“No!” Baela cries. She careens off the road and into the field, running parallel to the river as swiftly as she can. You are helping her, steadying her, firing at any zombies you have a clear line of sight on. The others are here too: slipping in the muck of the flooding earth, shouting for Jace. He surfaces through the frothing current, flails pitifully, disappears beneath the water again. You glimpse a white hand, a shadow of his dark hair, a kicking shoe. There are more zombies on the opposite side of the river, trailing after Jace, lurching and slobbering viscous, gory saliva. They cannot swim, but they can follow him until he washes ashore.

Jace bursts up through the waves, gasping. “Help! Aemond…Aemond, for the love of God, help me…” He blubbers and then is dragged under. Aemond and Luke are continuing frantically after him. Baela is hysterical, sobbing, trembling with adrenaline. Aegon is yowling as he swings at zombies with his bloodied golf club. Helaena is darting around almost invisibly, always cowering behind Daeron or Aegon or Rio.

You glance north towards the farmhouse, growing not closer but farther away. We can’t leave shelter. We can’t leave the road. You lock eyes with Rio. He’s thinking the same thing.

“Aemond, we have to go,” Rio says, but in the midst of the rain and the turmoil it barely registers.

“Jace, we’re coming to get you!” Aemond swears. The ground is increasingly sodden, deep, difficult to trudge through. Jace resurfaces, coughing and sputtering.

“Jace!” Aegon wails. He caves in the skull of a zombie who was once a registered nurse as Helaena crouches behind him. “Jace, I’m sorry! I’m gonna miss you, man!”

Jace splashes in the rising river, his arms flailing helplessly. He is being swept away far faster than any of you can move on foot. “Aegon, you dumb bitch!” Jace manages, then slips beneath the water and doesn’t reappear.

“Where is he?!” Baela is saying. “Aemond, where…?”

You are trying to soothe her, to bring her back to reality. She was always so pragmatic before; you have to wake her up. “Baela, listen, we can’t stay here, he would want you and the baby to be safe—”

“Aemond! Aemond, we have to go!” Rio catches him, wrenches him around, roars into his face as driving rain pummels them both: “We have to go, or we’re going to die here too!”

It hits Aemond all at once; he understands, horror and agony in his sole blue eye. “We have to go,” he agrees. And then louder, to everyone: “Get to the farmhouse!”

Baela collapses into the mud, howling, tears flooding down her face. “No, he’s still alive, he’s still alive, we can’t leave him!”

You and Rhaena are trying to haul Baela to her feet. Now Aemond is here, pulling you away from her—his fingers tight and urgent around your wrist—as he and Luke take your place. “Go,” he commands. “You run. Don’t wait for us. Rio?”

“I got her,” Rio replies, grabbing your free hand with an iron grip. Gales of wind rip at you; every millimeter of your skin is soaked with rain. As you flee across the fields towards the farmhouse, dozens of zombies pursue you. More are still staggering along the banks of the river, swept up in the hoards chasing Jace and the promise of his waterlogged corpse when it reaches its final destination. Daeron has run out of arrows and is shooting with his .22, which is very much not his preference. Aegon trips, getting covered in mud as he rolls, and Rio stops to help him. While he is distracted, you look back at Aemond. He, Luke, and Baela are moving quickly, but not quickly enough. A drove of zombies is closing in on them. You have a spare few seconds at last. You yank your backpack off, grab a box of ammo inside, and reload your M9.

“Chips?!” Rio calls over his shoulder.

“I’m fine.”

He knows you well enough to listen. The world goes quiet as your finger settles on the trigger. There’s a rhythm one slips into, an impassionate lethal efficiency. It’s easier to keep going than to stop and have to find it again. You fire over and over, dropping eight zombies. You sheath your M9 and whip Rio’s out of your other holster, the sights finding grotesque decaying faces illuminated by lightning. You pull the trigger: blood, bones, brains, corpses jerking and convulsing as they fall harmlessly to the mud. Aemond is here; when did he get here?

“I told you to run!” he’s shouting through the storm, furious. He’s shoving you towards the farmhouse. You resist him.

“Let me kill as many as I can—”

“Go! Now!” Aemond orders over the clashing thunder, and then sprints with you all the way to the front porch to make sure you listen. Everyone else is already there. Helaena has fetched a spare key from under the doormat and is turning it in the lock.

Daeron observes her anxiously. “We don’t know if it’s safe in there, Helaena.”

“Not in,” she says, insistent. “Through.” Through this building, and maybe through the next one too. The average zombie is not terribly clever. If they lose sight of you, without the benefit of the momentum of a hoard they are lost. Helaena opens the door. The living rush inside, and she locks it behind you. As you are bursting out the back door, you can hear zombies pounding their rotting palms against the front one. You soar through a stable full of dead horses and donkeys, leaving the doors open; this should keep the zombies distracted if they make it this far. Then you race to the farthest guest house. Luke, swiveling with his binoculars, spies no zombies approaching as you steal inside. There is no spare key this time; Rio punches out a first-floor window for you to climb through. Once everyone is inside, he and Aegon move a bookshelf to cover the opening.

You all stand in the living room, gasping and shivering, dripping rain down onto the rug and the hardwood floor. The air is dusty but clean of any trace of vile, swampy decay. Outside, thunder booms and lightning flashes bright enough to illuminate the lightless house. The sky is so dark it might as well be nightfall. Baela sinks to her knees, clamping both hands over her mouth so she won’t sob loudly enough for a zombie to hear. Rhaena and Luke are beside her, both weeping quiet rivulets of tears, trying to comfort her in whispers. Helaena is rummaging around searching for candles; she has already taken a lighter out of her soaked burlap messenger bag.

“Daeron, bro, come over here,” Aegon chokes out. He embraces Daeron, clutches him tightly and desperately, doesn’t let go. Rio is reloading his Remington 12 gauge.

Jace is dead. Jace is dead.

Aemond says to you, his voice low but seething: “What the fuck was that?”

You blink the raindrops out of your eyes as you stare at him, bewildered. “You needed help.”

“I told you to run.”

“I’m an asset, I have skills that can keep you alive, why am I here if I’m not going to be useful—?”

“You’re not in the fucking Navy anymore!” he hisses. “When I tell you to run, you run, you don’t stop, you don’t look back, because I can’t worry about you and take care of everyone else.”

“Nobody asked you to worry about me.”

“But I do.”

“Aemond,” Aegon pleads, waving him over. Aegon’s plump sunburned cheeks are glistening with rain and tears. “Man, it doesn’t matter. Nothing else matters now. Please come here.”

“I’m going to clear the house,” Aemond says instead.

Rio raises an eyebrow at you—this is one fucked up guy, Chips—and then pumps his shotgun. “Me too.” He sweeps with Aemond through the main floor and then vanishes up the staircase.

Helaena is lightning candles she found in the kitchen and arranging them around the living room. Daeron starts gathering food from the pantry. Rhaena and Baela are murmuring to each other softly, mournfully. It doesn’t feel like something you should intrude on. Luke is peeking out of a window with his binoculars, vigilant for threats. Aegon sniffles, wanders over to you with large, sad, shimmering eyes, pats your shoulder awkwardly.

“Hey, Chocolate Chip. You doing okay?”

“No,” you answer honestly.

“Yeah. Me either.” Then he flops down on the hideous burnt orange couch and lies there motionless until Daeron brings him a can of Dr. Pepper. Aegon pops the tab, slurps up foam, and then begins singing to himself very quietly, a song so old you can remember your grandfather saying it was one of his favorites as a boy: A Tombstone Every Mile.

When Rio comes back downstairs—heavy footsteps, he can’t help that—you meet him at the bottom of the steps. “The house is good,” Rio says. “And Aemond’s in the big bedroom on the right if you’d like to go up there and talk to him.”

“I don’t think he wants to see me right now.”

“I could not disagree more,” Rio says with a miserable, exhausted smile. Then he goes to the couch to check on Aegon.

You pick up one of the flickering candles, white and scentless, and ascend the staircase. You find Aemond in the master bedroom, the same accommodations that Jace laid claim to when he was still alive. He is sitting at the edge of the bed and staring at the wall, at nothing. Tentatively, you sit down beside him, placing the candle on the nightstand.

“Aemond…what happened to Jace…it wasn’t your fault.”

“Criston said I was in charge, that’s the very last thing he told me. They might be the last words I ever hear from him, and I just…” His voice breaks; he wipes the rain and tears from his face with open palms. “I really wanted to get everyone home.”

“I’m so sorry about what I said at the bowling alley,” you confess, like it’s a dire secret. “I don’t want to fight with you, Aemond, I…I want to help you. I can see what you’ve done for everyone here, me and Rio included, and I believe in you. I want to be a part of this.”

He nods, an acceptance of peace, but he still doesn’t look at you.

“Can we start over? I’ll never bring it up again, okay? I wasn’t trying to guilt you or upset you or anything. I should have just dropped it. I overreacted. And I understand why being with someone like me maybe wouldn’t be…super appealing.”

“It’s not about that.”

“Then what’s it about?”

Aemond wrings his hands, shakes his head, at last turns to you, golden candlelight reflected in his eye, his scar cloaked in shadows. His words are hushed, clandestine, soft powerless surrender. “I’m already so afraid of losing you.”

He cares, he hopes, he wants me too? “I’m here right now, Aemond. I don’t know what else I can say. I’d promise you more if I could.”

He reaches out to touch you, to ghost his thumb across your cheekbone, wet with rain. Then he kisses you, so gently you cannot help but imagine the wispy borders of calm white summer clouds, the rustle of leaves as wind blows down the Appalachian Mountains. You don’t have to ask him what he’s thinking, what it feels like. You can read it in the startled, firelit wonder on his face.

You taste like the beginning of something, here at the end of the world.

[fatehbaz]

Originally I had attached these tags about British imperial forestry to a post about United States treatment of forests, Indigenous peoples, and land administration from 1900-ish to 1935-ish, during a transition period when clear-cutting logging was threatening profit so the US turned to a German- and British-influenced "sustained yield" forestry paradigm:

And in response, someone added:

In the midst of the first Empire Forestry Conference of scientists, academics, and administrators in 1920, the chairman of the Forestry Commission of Britain, Lord Lovat, said that forests were "grown for use and not for mere ornament ... Forests are national assets only so far as they supply the raw material for industrial development."

Rajan (in Modernizing Nature) directly quotes professor of forestry at Oxford, R.S. Troup, who had been influential in the Indian forest service; at the same forestry conference in 1920, Troup promoted sustained yield like this: "Conservation was a 'wise and necessary measure' but it was 'only a stage towards the problem of how best to utilise the forest resources of the empire'. The ultimate ideal was economic management [...], which regarded forests as capital assets, fixed annual yields in such a manner as to exploit 'to the full interest on this capital [...]' and aimed for equal annual yields so as to sustain the market and provide regular supplies of timber to industry."

One of the big - and easily accessible/readable - summaries of the shift to sustained yield and rise of US and British administrators embracing "economic management" of forests:

Modernizing Nature: Forestry and Imperial Economic Development, 1800-1950. S. Ravi Rajan. 2006.

Concise look at the trajectory from East India Company and Royal Navy timber reserves; to British foresters training in Germany and/or in German traditions (including sustained yield) before joining as officers in the powerful British-Indian land administration bureaucracy; to US scientists being trained by those British administrators; to 1920s/1930s Empire Forestry Conferences promoting industry while identifying forests as essential to power.

---

This has also been covered by:

Vinita Damodaran, Richard Grove, Jeyamalar Kathirithamby-Wells, Jonathan Saha, Gregory Barton, Rohan D'Souza.

More summaries of the situation (shorter length, accessible):

"Imperial Environmentalism or Environmental Imperialism? European Forestry, Colonial Forests and the Agenda of Forest Management in the British Empire, 1800-1900". S. Ravi Rajan, In: Nature and Orient: Essays on Environmental History of South and South East Asia, 1998.

"'Dominion over palm and pine': the British Empire forestry conferences, 1920-1947". J.M. Powell, Journal of Historical Geography, Volume 33, Issue 4, October 2007.

Elsewhere, Elizabeth DeLoughrey and George Handley described it like this: 'These forest reserves [...] did not necessarily represent "an atavistic interest in preserving the 'natural' [...]" but rather "a more manipulative and power-conscious interest in constructing new landscapes [...]."' While Sharae Deckard adds: '[T]he subversive potential of the "green" critique [...] was defused by the extent to which growing environmental sensibilities enabled imperialism to function more efficiently by appropriating botanical knowledge and indigenous conservation methods [...].'

---

And the book:

Commonwealth Forestry and Environmental History: Empire, Forests and Colonial Environments in Africa, the Caribbean, South Asia and New Zealand.

Edited by Damodaran and D'Souza, with work from conferences hosted by Grove, in 19 chapters including:

"Worlds Apart? The Scottish Forestry Tradition and the Development of Forestry in India" (K. Jan Ootheok); "Redeeming Wood by Destroying the Forest: Shola, Plantations and Colonial Conservancy on the Nilgiris in the Nineteenth Century" (Deborah Sutton); "Nature's Tea Bounty: Plant Colonialism and 'Garden' Capitalism in the British Empire" (Jayeeta Sharma); "Industrialized Rainforests: The Ecological Transformation of the Sri Lankan Highlands, 1815-1900"; "Forestry and Social Engineering in the Miombo Woodlands of South-Eastern Tanganyika" (Thaddeus Sunseri)

---

Rajan also points out (again in Modernizing Nature):

"[An] extremely important aspect to the repackaging [of forestry science and management] [...] [and] a critical principle that stands out here is that of sustained yield, or sustainability (Nachhaltigekeit). This concept was fundamental [...]. By the turn of the [twentieth] century a large pan-colonial [British-United States] scientific community was in existence, trained in the German and French tradition of forestry [...]. Following the revolt of 1857, the government of [British] India sought to pursue active interventionist policies [...]. Experts were deployed as 'scientific soldiers' [...]. Dietrich Brandis [...], considered the founder of Indian forestry [...] married Rachel Marshman, who was [...] also the sister of the wife of General Havelock, a close friend of Lord Dalhouse, the then governor-general of India. On Havelock's recommendation, Brandis was put in charge of the forests of [...] Burma [...] and was subsequently appointed inspector-general of forests of India. [...] He also trained prospective foresters of the forest department of the USA, including Gifford Pinchot. [...] Chancellor Bismarck gave the visiting British Prime Minister Gladstone an oak sapling [...]. Prussia prided itself on helping devise [...] modern forest management. [...] [T]he Forestry Commision [...], [or] [t]he Imperial Visionaries, as they became known, believed that an increase in primary production in the tropical dependent empire would result in the growth of the British economy. [...] They deemed their own job to be serving the imperial economy."

---

And also:

Empire Forestry and the Origins of Environmentalism. GA Barton, 2002.

"Colonialism and Green Science: History of Colonial Scientific Forestry in South India, 1820-1920". VM Ravikumar Vejendala, Indian Journal of History of Science, 47:2, pages 241-259, 2012.

"Imperialism, Intellectual Networks, and Environmental Change: Unearthing the Origins and Evolution of Global Environmental History." Vinitia Damodaran and Richard Grove, in Nature's End: History and the Environment, 2009.

"The Reconfiguration of Scientific Career Networks in the Late Colonial Period: The Case of Food and Agriculture Organization and the British Colonial Forestry Service" by Jennifer Gold, and "A Network Approach to the Origins of Forestry Education in India, 1855-1885" by Brett M. Bennett. Both chapters are form Science and Empire, 2011.

Triumph of the Expert: Agrarian Doctrines of Development and the Legacies of British Colonialism. Joseph Morgan Hidge, in Series in Ecology and History, 2007.

Nature and Nation: Forests and Development in Peninsular Malaysia. Jeyamalar Kathirithamby-Wells, 2005. And also: "Peninsular Malaysia in the context of natural history and colonial science." Jeyamalar Kathirithamby-Wells, New Zealand Journal of Asian Studies, Volume 11, Number 1, 2009.

"Empires of Forestry: Professional Forestry and State Power in Southeast Asia, Part 1". Peter Vandergeest and Nancy Lee Peluso, Environment and History 12, no. 1, pages 31-64, February 2006.

[iamrunning-low]

Deforest Kelley's Filmography

(Incomplete)

Links directly to each episode or movie for free (Because I don't believe in paying for stuff)

Most of these will be YouTube, Internet Archive, ok.ru, or other sites that should be safe.

I am only allowed 100 embedded links per post, so any new links will be line text.

Nothing has to be downloaded; if a link doesn't work, if you find an unsafe site, or if there are any other errors. please tell me. (there are a few episodes on YouTube that are mislabeled but they should be the right episode)

If you've found any other links to the episodes I haven't found yet, pretty please send them to me <3

Time to Kill (1945)

Fear in the Night (1947)

Variety Girl (1947)

Beyond Our Own (1947)

Public Prosecutor: Case of the Man Who Wasn't There (1947)

Gypsy Holiday (1948)

There are copies of this archived at the UCLA Library, but they are all nitrate film and can only be handled by professionals. I think you can request to view them, but you have to go there in person.

Canon City (1948)

Duke of Chicago (1949)

Malaya (1949)

Life of St. Paul Series: Ambassador for Christ (1949)

The Men (1950)

Studio One: The Last Cruise (1950)

Speak No Evil (1950)

The Gallery of Madame Liu-Tsong: The Golden Women (1951)

The Web: Shine, Mister? (1951)

Armstrong Circle Theatre: Breakaway (1952)

Your Jeweler's Showcase: The Hand of St. Pierre (1952)

Taxi (1953)

The Lone Ranger:

The Legion of Old Timers (1949) Gold Train (1950) Death in the Forest (1953)

The Revlon Mirror Theater: Dreams Never Lie (1953)

The Pepsi-Cola Playhouse: Frozen Escape (1953)

Waterfront:

Shipper, Beware (1954) The Race (1954)

Duffy of San Quentin (1954)

The Lone Wolf:

The Murder Story (1954) The Las Vegas Story (1954)

Your Favorite Story:

The Man Who Sold His Shadow (1953) Inside Out (1954) Inside Out: The Story of Bunder-Runger the Jailbird (1954)

Public Defender: The Murder Photo (1954)

Cavalcade of America: The Medal for Miss Walker (1954)

City Detective:

An Old Man's Gold (1953) Crazy Like a Fox (1954)

Mayor of the Town:

Long May It Wag (1954) Minnie's Job (1954) The Poet (1954)

The Loretta Young Show: Decision (1955)

House of Bamboo (1955)

Illegal (1955)

The Millionaire: The Iris Miller Story (1955)

Studio 57:

Storm Signal (1954) Vacation with Pay (1955)

The View From Pompey's Head (1955)

Matinee Theatre: Beyond a Reasonable Doubt (1955)

Gunsmoke: Indian Scout (1956)

The Man in the Grey Flannel Suit (1956)

You Are There:

The Capture of John Wilkes Booth (1953) The Surrender of Corregidor (1954) The Rescue of the American Prisoners from Santo Tomas (1955) The Gunfight at O.K. Corral (1955) Eli Whitney Invents the Cotton Gin (1955) Spindletop - The First Great Texas Oil Strike (1955) The Heroism of Clara Barton (1956) The Fall of Fort Sumter (1956)

Tension at Table Rock (1956)

Science Fiction Theatre:

Y..O..R..D.. (1955) The Long Day (1955) Survival in Box Canyon (1956)

Strange Stories: Such a Nice Little Girl (1956)

The Adventure's of Jim Bowie: An Eye for an Eye (1957)

Navy Log:

Cigar-Box John (1957) Nightmare off Brooklyn (1957)

Gunfight at O.K. Corral (1957)

Code 3: Oil Well Incident (1957)

The Web: Kill and Run (1957)

Schiltz Playhouse: Hands of the Enemy (1957)

The O. Henry Playhouse:

Fog in Santone (1957) The Hiding of Black Bill (1957)

Raintree County (1957)

Boots and Saddles: The Marquis of Donnybrook (1957)

Playhouse 90:

The Edge of Innocence (1957) Point of No Return (1958)

The Silent Service:

The U.S.S. Spearfish Delivers (1957) The Gar Story (1957) The Archerfish Spits Straight (1958)

M Squad:

Pete Loves Mary (1957) Diamond Hard (1957) Hideout (1958)

The Law an Jake Wade (1958)

Steve Canyon: Operation Jettison (1958)

The Rough Riders: The Nightbinders (1958)

26 Men: Trail of Revenge (1959)

The Californians: The Painted Lady (1959)

Special Agent 7: Border Mascarade (1959)

Northwest Passage: Death Rides the Wind (1959)

Rawhide: Incident at Barker Springs (1959)

Mackenzie's Raiders: Son of the Hawk (1959)

Warlock (1959)

State Trooper: The Patient Skeleton (1959)

The Lineup: The Chloroform Murder Case (1959)

Mike Hammer:

I Ain't Talking (1959) Bride and Doom (1959)

21 Bacon Street: The Hostage (1959)

Trackdown:

The End of an Outlaw (1957) The Jail Break (1958) Hard Lines (1959) (begins at 22:32) Quiet Night in Porter (1959)

Wanted: Dead or Alive:

Secret Ballot (1959) The Empty Cell (1959)

The Man from Blackhawk: Station Six (1959)

Black Saddle: Apache Trail (1959)

The Magical World of Disney: Elfego Baca: Mustang Man, Mustang Maid (1959)

Alcoa Theatre:

Johnny Risk (1958) 333 Montgomery (TV version) (1959)

333 Montgomery (1959)

Richard Diamond, Private Detective:

The Limping Man (1959) The Adjuster (1959)

Zane Grey Theater:

Stage for Tucson (1956) Village of Fear (1957) Shadow of a Dead Man (1958) Calico Bait (1960)

Johnny Midnight: The Inner Eye (1960)

Markham: Counterpoint (1960)

Two Faces West: Fallen Gun (1960)

Riverboat: Listen to the Nightingale (1961)

Tales of Wells Fargo: Captain Scofield (1961)

Assignment: Underwater: Affair in Tokyo (1961)

Coronado 9:

Loser's Circle (1960) Run, Shep, Run (1961)

Lawman:

The Thimblerigger (1960) The Squatters (1961)

The Deputy: The Means to the End (1961)

Bat Masterson: No Amnesty for Death (1961)

Stagecoach West

Image of a Man (1961) The Big Gun (1961)

Shannon: The Pickup (1961)

Cain's Hundred: The Fixer (1961)

Perry Mason: Case of the Unwelcome Bride (1961)

Route 66:

The Clover Throne (1961) 1800 Days to Justice (1962)

Have Gun - Will Travel: The Treasure (1962)

Laramie:

Gun Duel (1962) The Unvanquished (1963)

The Gallant Men: A Taste of Peace (1963)

The Dakotas: Reformation at Big Nose Butte (1963)

77 Sunset Strip: 88 Bars (1963)

Gunfight at Comanche Creek (1953)

The Virginian:

Duel at Shiloh (1963) Man of Violence (1963)

Where Love Has Gone (1964)

Slattery's People: Question: Which One Has the Privilege? (1964)

Black Spurs (1965)

Town Tamer (1965)

Marriage on the Rocks (1965)

The Fugitive: Three Cheers for Little Blue Boy (1965)

The Donna Reed Show: Uncle Jeff Needs You (1965)

Apache Uprising (1965)

Bonanza:

The Honor of Cochise (1961) The Decision (1962) Ride the Wind Part 1 (1966) Ride the Wind Part 2 (1966)

A Man Called Shenandoah: The Riley Brand (1966)

Laredo: The Sound of Terror (1966)

Death Valley Days:

The Breaking Point (1962) Coffin for a Coward (1963) Devil's Gate (1965) Lady of the Plains (1966)

Waco (1966)

Police Story (1967)

Ironside: Warrior's Return (1970)

The Silent Force: The Judge (1970)

The Bold Ones: The New Doctors: Giants Never Kneel (1970)

Owen Marshall, Counselor at Law: Make No Mistake (1971)

Room 222: The Sins of the Fathers (1971)

Night of the Lepus (1972)

The ABC Afternoon Playback: I Never Said Goodbye (1973)

The Cowboys: David Done It (1974)

The Littlest Hobo: Runaway (1981)

The Brave Little Toaster Goes to Mars (1998)

Sourses:

https://www.imdb.com/name/nm0001420/?ref_=ext_shr_lnk

https://en.wikipedia.org/wiki/DeForest_Kelley

Thank you to:

@iamenits

@spawksstuff

@/Hellbat_the_Destron on youtube

Last Update: 4/10/25 10:43 PDT

[manasastuff-blog]

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[cindersnows]

navy purple and orchid headcanon time...

i genuinely do not think navy left because purple wasnt "good enough" or because of purple at all; that was just a symptom in what was moreso orchid and navy's growing hatred of each other.

because like canonically, purple was drawn as navy and orchid's child (alan clarified this after people began asking about whether sex was canon post avm29.)

and i like to think that

1. they were all created and uploaded at the same time with the specific purpose of being a family

2. purple and their parents were representative of the animator and their parents; the flash they uploaded to newgrounds was a sort of way to "vent" and figure out their trauma before they properly processed it as trauma.

so orchid and navy were drawn specifically to be a loving couple towards each other, but also designed to have these conflicting traits (navy being stubborn and abusive, and orchid avoiding stepping in until things get dire to avoid confrontation).

(other funny thing is that purple was drawn as a girl because the animator was repressed transfem, but still built to be a "boy" because that's what the animator felt they had to be. hence tmasc purple. anyways anyways.)

both orchid and navy care about purple, but (and especially for navy) it's something that was hard wired into them rather than an active choice they made.

orchid is supposed to:

1. love her husband ("femininely")

2. love her child ("femininely")

which turns into:

1. agree/defer to/side with her husband

2. take care of/protect her child

navy is supposed to:

1. love his wife ("masculinely")

2. love his child ("masculinely")

which turns into:

1. command/guide his wife

2. mentor his child to fit them into the right role for society

(this is all from an indian societal perspective btw. their animators indian therefore theyre indian because i say so)

these begin to conflict because orchid needs to protect her child (which she enjoys and wants to do) but also needs to follow navy's lead (which she is less keen to she'd rather they compromise), and navy's lead is to Abuse purple, because he wants to turn purple into the model fighting stick to make himself feel good and fulfilled (fulfilling the purpose he was drawn for) and he has decided to take the easy route to train purple instead of putting any effort or compassion into it. this is a failing on his part, not as result of his code.

now orchid wants to protect purple, but she also can't bring herself to disagree with navy, so it ends up with her glancing away during most of their training so she can avoid the horrible gut feeling she gets whenever she stands up to navy, but she still steps in when purple is in danger of possible permanent injury. it's like she's bargaining with her own brain to satisfy both its "success" criterias.

navy does not like it when orchid fights back because of his own success criteria. they also learn, in the four years between them being animated and navy leaving, that they're really not compatible in any meaningful way because they're both very headstrong and stubborn, and have VERY different opinions on how things should be done even, if they're going for a common goal.

just to clarify; this does not in any way put orchid on the same level as navy. navy was still beating up his child ("sparring him" bitch thats a child!!) in order to try and make himself feel like a good dad. he refuses to compromise with orchid at all because of his own ego, even when she's willing to give up some of her own ideals if he accepts hers in turn. that's like... the basic building blocks of a relationship.

while they both did not do great raising purple, with some neglect (especially towards the end) orchid definitely got the short end of the stick. it's so important to me that orchid tried, but it's equally important to me that she failed sometimes.

even if gender roles in stick society end up being "abolished" or warped very quickly due to lack of contact with humans, it doesnt change the fact that the animator built orchid in with that "female subservience" that people often want from women due to the animator's own subconscious beliefs about women.

i imagine post divorce is like. the weight lifting off orchid. and a separate weight settling onto navy. orchid no longer has to choose between her two life purposes and navy has to deal with the guilt of knowing he failed both. ironically enough, she's milder after navy leaves. she does not feel the need to constantly match his fire to have a chance at protecting purple and now she can raise purple the way (she thinks) it's meant to be. her beautiful daughter; they can be a family free from navy's abuse finally.

but purple won't stop talking about papa and asking when he's going to come back and asking "what would papa think?" "papa always said no to this" "papa said to do it this way" and it gets... grating. she doesn't get violent, god she'd never, but she does snap or make a few tired comments sometimes.

it's like that one jack stauber animation. she calls him an idiot once in passing because he's so attached to the idea of navy returning even after months.

purple figured out he wasn't cis at like 12 (just a few months before orchid died) and expressed as much to orchid. and orchid, who knew very well that purple still really loved navy, possibly more than orchid, took this to think that purple wanted to transition to be a man like navy (not the case) and so she got upset and told purple off saying they needed to let go of navy. probably the worst thing orchid did to purple.

so purple felt awful and stayed in the closet. when they buried orchid they cried a bit for the fact that (in his head) she would never approve of the man he would become. orchid, if she had lived, probably would've come around to the idea after understanding more about purple's feelings, but was particularly emotional towards the end. and then she died. purple will never get closure on this.

tldr; the secret to avam is that all sticks have generational trauma.

[defencecapital]

India signs $73 million deal with Bharat Electronics for navy target detection system

By A Correspondent New Delhi: India’s Ministry of Defence on Feb. 8, 2025, signed a contract with state-run Bharat Electronics Limited to buy 28 target detection systems for its naval ships. The EON-51 systems for 11 New Generation Offshore Patrol Vessels and three Cadet Training Ships are worth Rs 643.17 crore (~US$73 million), and this purchase would be done under the Buy (Indian –…

[townpostin]

Indian Navy to Aid Search for Missing Training Aircraft

Specialized team to join efforts at Chandil Dam for plane that vanished with two pilots A 15-member Indian Navy team will assist in locating a training aircraft that disappeared near Jamshedpur with two pilots aboard. JAMSHEDPUR – The Indian Navy is set to join the search operation for a missing training aircraft and its two pilots in Seraikela-Kharsawan district, Jharkhand. The Cessna 152…

[darkmaga-returns]

Is this what America is going to do now when we have disasters? Bring in the bulldozers and the flame throwers? Light the trash and debris pyres, and once down to ashes, cover up and forget?

Dr. Peter and Ginger Breggin

Nov 22, 2024

“Outbreaks and natural disasters have shown that mismanagement of the dead can show distrust and undermine public health efforts to contain diseases and can also contribute to long-term trauma for survivors when the bodies of loved ones are not considered to have been treated with respect.”

Ethical and sociocultural challenges in managing dead bodies during epidemics and natural disasters

[Please click on the headline to read this complete article in Substack]

It does not take a public health study to tell us that disrespecting the remains of those lost in a storm or other disaster leads to grave distress among survivors. Respectful handling of the dead goes back into the misty records of human prehistory.

Yet, suddenly, these most fundamental, core traditions of human culture—how the dead are treated and disposed of—are being completely ignored by American federal and state agencies in southeastern Appalachia where more than 30 communities and an uncounted number of inhabitants have been wiped out by Hurricane Helene. Twenty-five North Carolina counties and the Eastern Band of Cherokee Indians have been identified for Federal major disaster declaration—this approaches one third of the state of North Carolina. Tennessee, too, has been massively impacted by that storm.

FEMA Disaster Declaration of 10.15.2024

The surviving residents of Western North Carolina and volunteers are struggling to locate their missing and dead family members and neighbors, often last seen as they or their houses were swept away in a record-high tide of water or mud and debris. Since the early hours and days after Hurricane Helene hit the mountains of southern Appalachia, there have been eyewitness reports on social media of bodies hung up in trees, tangled in brush piles, buried in mountains of muck and uprooted trees, crumpled vehicles, smashed buildings and a toxic mix of chemicals, and sewage. Residents often don’t hear about toxic releases until much time has passed, leading to chemical burns, asthma and other toxic exposure-related illnesses.

Volunteer Search and Rescue teams with trained cadaver dogs are still doing body recovery; they see the desperate need. United Cajun Navy and Mercury 1 Charity are two of the organized charities doing search and rescue and air drops for those whose entire lives have literally been washed away as evidenced by 911 recordings just released on the 19th of November.

[newspatron]

Conquer the Battlefield: Your Ultimate Guide to NDA Exams

Unleash your inner warrior! Share your NDA exam dreams, questions, and tips in the comments below!

Step onto the Battlefield of Dreams: Cracking the NDA Exam with Confidence Ever dreamt of donning the olive green, of soaring amidst the clouds, or commanding the vast canvas of the ocean? The National Defence Academy ( NDA exam ) could be your gateway to transforming these dreams into reality. But conquering this coveted path demands not just unwavering ambition, but also a strategic roadmap…