#Love Love Reversible Couple - Heart Beat- Anthology

[lunascanstr]

Night Routine (2021) Türkçe Yaoi Manga/Webtoon Oku

Love Love Reversible Couple -Heart Beat- Anthology

Yazar: Matsumoto Noda, Tobi Washio Sanatçı: Matsumoto Noda, Tobi Washio Tür: Yaoi, Manga, Oneshot, Smut, Switch/Seke Yayınlanma Durumu: Tamamlandı Çeviri Durumu: Tamamlandı

Çeşitli switch/seke çiftleri konu alan oneshotlardan oluşan bir antoloji... ⚡ İNDİR 🌈 ONLİNE :  LunaScans - MangaDex ⚠️ Dikkat! Bu içerik yetişkin (18+) kitlelere yöneliktir. Cinsel temalar ve/ya küfürlü dil içermektedir.

[letterstothemidnightsociety]

CARRY ON MY WAYWARD SON IS JUST THE WHOLE MOOD FOR 2020, CAN WE ALL AGREE ON THAT?

Oh boy, guys, it’s here. The end. The very end. Tonight, Supernatural says goodbye for real this time. Maybe. Who really ever knows. But I’m not great at goodbyes, so instead let’s go back to the very beginning. It’s Supernatural!

So I’m here, at the season finale of Season 1. Very conveniently on the same day that the show is on the series finale of Season 15. It’s like I planned it, you guys! I did not plan this. 

Also, let’s take a minute to appreciate the irony of using Carry On My Wayward Son in every season finale when the Winchesters will never be done, they’ll never have peace, they will never lay their weary heads to rest. Don’t mind me, I’m just laughing til I cry. 

I genuinely think of the the last two episodes of Season 1 - “Salvation” and “Devil’s Trap” - as if they’re one episode. This is because a) I think they are designed to be a two-parter and b) they’re the only two episodes on the last disc of my box set BUT I think it’s important to note that these two episodes did not air on the same night. There was a week between them and that is...rough for an audience watching in real time. But when I watched it the first time, I was watching this exact dvd disc and of course I plowed right on through the cliffhanger in “Salvation” until the literal car crash that ends “Devil’s Trap”.

This disc! Right here! That has the real soundtrack on it, UNLIKE SOME STREAMING SERVICES!

Let’s look at a couple things: 

Way back in 2006 when these episodes aired, Supernatural’s success was average at best? Even though it’s the 5th most watched show on the WB, it’s averaged a little more than 3 million American viewers per episode, which at the time, wasn’t great. In contrast, the #1 show of the 2005/2006 TV year was American Idol season 1 - an average of 12.7 million viewers per episode. So it’s not exactly a winner of a show, but it’s not too far behind the WB’s #1 show, Smallville, which averaged around 4 million viewers per episode. Still, Supernatural’s fate was uncertain. “Devil’s Trap” aired on May 4, 2006, but the show didn’t get renewed for season 2 until May 18. That’s two weeks of cliffhanger limbo, and lemme tell you, that would have been a real slap in the tits if the show had been cancelled. 

Even further back, though, in January of 2006, it was announced that the WB and UPN would be renouncing their independence and merging under CBS and Time Warner company into what we know today as The CW. It was a network that was frankensteined together from the only working pieces of both networks and honestly I think that was a big reason Supernatural did get renewed. The CW was in need of some kind of programming to kick off the 2006 Fall Season and they greenlit new seasons for 13 of WB’s and UPN’s established programs. For a real blast from the past, here is their list of inaugural shows - 

7th Heaven (WB)

Beauty and the Geek (WB) 

Gilmore Girls (WB) 

One Tree Hill (WB)

Reba (WB)

Smallville (WB)

Supernatural (WB)

America's Next Top Model (UPN)

Veronica Mars (UPN)

Everybody Hates Chris (UPN

Girlfriends (UPN)

All of Us (UPN)

WWE SmackDown! (UPN)

I think my favorite part of this list is that both Gilmore Girls AND Smallville were still on the air, arguably the origin stories for Jared Padalecki and Jensen Ackles respectively. 

However, there’s evidence that Supernatural was in less danger of cancellation than you might think. In March, around about “Hellhouse” time, Supernatural gets moved from a Tuesday air date to a Thursday air date. If you follow American network TV at all, then you’ll know that Thursday is THE day. Historically, Networks believed this was the best day for programming. Advertisers paid extra for the combination of influencing your weekend plans and also influencing you before the weekend since you’re less likely to be watching TV and more likely to be spending money. Friends aired on Thursdays. Grey’s Anatomy is a Thursday show. Putting Supernatural on Thursday would indicate that the WB had some faith in it, although it’s possible they were simply removing something else that wasn’t working in that 9pm time slot. 

Ratings aside, once we get to the finale Supernatural has a good thing going, and it seems critics agreed. I think the back half of season 1 is where the show really starts to shine and take on the semblance of what it will become. This is where you see it shift from Monster-of-the-Week, anthology-style, to episodes that focused more on character - what I like to call the Feelings Episodes. That’s not to say there won’t be a ton more Monster-of-the-Week episodes, just that those are the B-story line, less important than the Winchesters-Working-Through-Trauma A-story lines. There’s also a greater emphasis on the overarching mythos and story arc of the season in the back half. This is ultimately what carries Supernatural into season 2 and beyond. Everyone from critics to series creator Kripke agreed that the episodes that focused more on the relationships and the internal struggles of the Winchesters was what really captured audiences. 

And all that gooey feelings stuff really comes to a head in the one-two punch that is “Salvation” and “Devil’s Trap”. 

UGH. FEELINGS.

The day of reckoning is finally here - the Winchesters finally know who they’re after, where to go, and how to kill it. Thanks to Sam’s Oh yeah! He’s got ESP!, they know exactly who’s gonna get hit next. The search is finally over, the battle’s about to begin. But it’s not just the Quest that’s winding down, it’s a bunch of character arcs that are coming to light as well. In fact, the Quest really does get pushed aside in favor of big character moves.

John Winchester, hyperfixated on revenge for the past 20 years, is finally close to resolving his grief and guilt over Mary’s death and the way he raised his kids. He tells his sons “whatever it takes” and we know he means it. This plays out in his decision to split up the team, in his willingness to sacrifice his own life so his boys have the opportunity to kill the demon they’ve been hunting all season. 

Who’s fault was THAT, you piece of shit.

Sam Winchester’s own feelings of guilt and grief are also on the cusp of absolution. We see just how similar Sam and John really are, specifically in their reactions to fridged girlfriends lost loves. For the first time this season, Sam follows John’s orders without question or complaint. He doesn’t hesitate to risk his own life to kill the demon, willing to literally walk into fire for a second shot at it. Sam’s here to do whatever it takes, and it’s only because of Dean that he doesn’t. 

Dean, on the other hand, is finally struggling with following John’s orders. I love the scene where John yells specifically at Dean when he finds out about Sam’s visions (watch John’s eyeline, he is NOT looking at Sam on that line) 

Exhibit A, because this show has turned me into a 19YO Stan again and I hate it.

and Dean yells back, pointing out that they were in much more dire straights than death omens and John never picked up the phone, not once, not even when Dean was dying. 

It’s TRUE and he SHOULD SAY IT! And seriously, John, even MEG knows you don’t answer voicemails, that’s why she calls Sam.

More importantly, Dean is not willing to do whatever it takes if whatever it takes means losing what he already has. Dean, who was so gung ho about finding mom’s killer in the beginning of the season, understands better than ever what he stands to lose if he lets his family continue on this path. It’s a real reversal of his attitude from the beginning of the show, but the about-face has happened so gradually over the last 22 episodes that it doesn’t feel out of left field. 

Because that’s what you get when you put Sam and Dean together on a cross-country road trip for nine months! The two grow and change just by proximity and the sheer number of hours they spend in the car together. Over the course of 22 episodes, Dean reminds Sam why they do what they do - saving lives - and Sam reminds Dean what and who they do it for - family, safe and sound and living their best life now. John’s got his own thing going on, so who even cares what his motivations are, I don’t, hurry up and get out of here, John, nobody likes you. 

That being said, “Devil’s Trap” starts with a pretty ruthless Dean performing an exorcism on Meg. He’s not dicking around this episode, and based on the fight he has with Sam in “Salvation”, it makes sense. Dean won’t do whatever it takes just for vengeance, but he will do whatever it takes to save someone, especially if those lives are his brother and his father. You could even extend that motivation into his decision to exorcise the demon and essentially kill Meg Masters - she may be dying, but she’s been saved from being a human meat puppet and unwilling participant to any number of evil things. 

In other news, Bobby Singer is a National Treasure and the Best Part of this Episode and Maybe All Episodes. He doesn’t have a lot going on in this episode, he’s just amazing and I love him forever. 

I had to pull a still from the episode because lookit this glorious mullet that he loses immediately, thank GOODNESS!

After getting a reality check from Dean in “Salvation,” Sam’s still struggling to figure out where he is on this spectrum, and you get to watch him make that decision in real time. He has the choice to be like John, to do whatever it takes to kill the demon, even though that means killing his own father. And he does not hesitate to aim when John tells him to shoot to kill, and that says a LOT. 

But it’s Dean who convinces Sam not to lose himself in this fight, even when he’s so close to winning it. It’s Dean’s tiny little “Sam, no!” that makes Sam put the gun down, and that ALSO says a LOT. 

It also hits me right in my heart meats, just OOF. 

And THEN, just when you think the Winchesters are at their lowest, beat to shit and barely holding on, THEN the show delivers its final blow: they crash a semi into the Impala. 

Listen, I watch a lot of garbage, and I watch that garbage on purpose. Sometimes, that’s just what you want. I don’t rate movies and tv shows on a good to bad scale anymore because some bad movies are GREAT and some good movies are just really terrible and I don’t like watching them. I’ve started talking about movies and tv in terms of whether or not I enjoyed them. Does it spark joy? Will it spark joy in others? 

My legitimate reaction to anything that looks like a dumpster fire.

I enjoy Supernatural. A LOT. And maybe it’s just because my calibration settings are off, but I’d also argue that this season is good. As in, it’s well-crafted, satisfying and (mostly) logical storytelling. Is it perfect? No. It’s a show that aired on the WB in 2005. And when I watched this for the first time in 2008, I didn’t dig too deep into character arcs or story structure, I just liked watching two hot guys fight ghosts and sometimes cry a little. Twelve years later, watching it with a more experienced eye and a more refined palette - er, well, maybe just more educated palette -  I can see the skill that went into crafting this 22-episode long story. 

Well, skill and and a little bit of sheer dumb luck. Cuz remember when I said that Kripke and Co. figured out that the Feelings Episodes ended up doing better than the Monster-of-the-Week episodes? That wasn’t until after they realized what a gift they’d been given in their two leads. It was the chemistry between Jensen Ackles and Jared Padalecki that both sold the show at the outset and built the foundation for seasons to come. Viewers cared about the show because they cared about the characters. They wanted to see these two beautiful dumpster fires struggle and overcome their internal battles way more than their external ones. If you need proof - I did not once talk about the Yellow-Eyed-Demon motives or plans from this episode. I barely even mention the quest, unless it’s in relation to how the characters are handling it, emotionally, and how that’s impacting others around them. When you come down to it, Supernatural is a show about a family struggling to survive just as much as it is about two guys saving the world, and that’s something that any audience can relate to. I’m never gonna perform an exorcism or face down angels and demons to stop the apocalypse. But I am gonna struggle with insecurity and doubt, grief and anger and family drama. That’s the human element. That’s what connects you to these characters. And when you’re lucky enough to have two lead actors that really sell the hell out of the family dynamics, you're setting up for some serious television gold. 

Fifteen years after this season aired, both of these elements - the story-crafting AND the luck - are more important than ever. No matter what show you’re watching, when you get to a season finale, that finale needs to feel like a set of dominos tipping over. It needs to feel like you’ve set up for that final confrontation both externally (the quest arc) and internally (the character arc). It needs to feel satisfying and motivated when those dominos finally fall. Most importantly, you need to make sure your audience cares about why they’re falling in the first place. Who cares about anybody’s arc if you haven’t built that character connection with your audience in the first place? 

For a TV show looking ahead to season two, all that resolution also needs to ask more questions. It needs to propel us through one conflict and into another. That’s what the finale of this season does. It threads the needle into that sweet spot between conclusion and new beginning. Will our heroes live or die? Will the yellow-eyed demon be defeated? What’s next? And on this side of 2020, how did they keep that momentum going for more than a decade? 

I can’t think of any current show right now that I would follow for 15 years. Hell, I didn’t even follow this show for 15 years. But the longevity of Supernatural means that they’ll be the template for any show looking to last even half as long as they did. And no matter how you feel about this show, you’ve gotta admit that’s heckin’ WILD. 

[nightingveilxo]

BBC Sherlock is picking up where Casablanca left off. “The stage is set, the curtain rises, we are ready to begin…” Which is important, because before it was a film, Casablanca was an unproduced play.

First, I’d like to give credit to @deducingbbcsherlock for the original meta about John on the tarmac: ( x ) This post, is a follow-up of sorts, in that it deals with what happens afterward, and how we all land.

Take into account, that when Casablanca was made, the people we now think of as refugees, were still living the events. The film did create a rallying for those same people, and included refugees in its scenes. The LGBTQA+ viewers hoping for representation are the Sherlock refugees.

I included the images above, because of the blue/slightly rainbow lighting effect that occurs in the scenes, and due to pondering why they were having Mycroft watching an old movie (which we know was made for the show). Blue lights invariably spring up around anything involving Sherlock and John’s hearts (especially phones, bombs, and police lights). In the scene from T6T, the blue lights mimic a runway. In the first of the two images from TFP, after Sherlock breaks down the fourth wall, it even looks like he is coming down from a plane ramp.

From a previous piece I worked on:

Lights and Landing. I keep thinking it’s going to /come down/ to lights. On ASiB, Flight 007, the lights were out, and Nobody (TLD/Nemo TFP) was home (because they were all dead). During the stag night, Sherlock and John are drinking by a table, where Sherlock’s (heart) phone is left glowing blue next to four candles. If we’re still on the roof of TRF, John had his lights knocked out, but only after he and Sherlock escaped the police with their blue lights. In TEH, the lights are on the (heart) bomb. In HLV, Sherlock shoots Magnussen, and then a huge light lands on him from the helicopter. In TAB, Sherlock’s lights kept going out. In the flight of T6T, again everyone’s lights are out, except John’s. In TLD, Sherlock figures out the issue of the illuminated Miss Me from Eurus’s note, in the same way he noticed Help Me on the wall when Anderson missed it (which is also the text Sherlock sent Lestrade in TSoT that then results in blue lights through 221B’s curtains). In TFP, the little girl mentions seeing lights right before Sherlock figures out the code to locate John. We already know there is this recurring issue of projectors/projections/premonitions.

Which is why I don’t think it’s an accident that we go from the Casablanca-style scenes in HLV and TAB, to Sherlock and John beating Mary Rosemund to Morocco, in T6T. At the beginning of T6T, Sherlock says, ““I’m the target. Targets wait.” “How did you find me?” Mary asks. “I’m Sherlock Holmes,” he shrugs. He waited. For John. For her. There were premonitions...

Also, it works with the scenario of Victor Lazlo. Early in the movie, Victor Laszlo acquires a large scar over his left eye. The reason for the scar's existence is never addressed in the movie. Likewise, @inevitably-johnlocked surmised that John has lost his left eye ( x ) In TFP, as a child, Eurus always has brown eyes--except in the scene where she is lighting the match. In that scene, it’s blue. I never understood why, until this.

The water scenarios we keep getting in S4, and the idea of TD-12 or a coma causing this to all be misinformation or somehow incorrect.

Captain Renault: What in heaven's name brought you to Casablanca?

Rick: My health. I came to Casablanca for the waters.

Captain Renault: The waters? What waters? We're in the desert.

Rick: I was misinformed.

We’ve already had a parallel between Rick and Sherlock from TGG, albeit in reverse.

Rick: And remember, this gun is pointed right at your heart.

Captain Renault: That is my *least* vulnerable spot.

Then, there’s John as Ilsa. A blonde married to a blonde, pining over a dark-haired man that is represented as anti-social. Renault has the ability to mirror Sherlock or John.

Ilsa: It's about a girl who had just come to Paris from her home in Oslo. At the house of some friends, she met a man about whom she'd heard her whole life. A very great and courageous man. He opened up for her a whole beautiful world full of knowledge and thoughts and ideals. Everything she knew or ever became was because of him. And she looked up to him and worshiped him... with a feeling she supposed was love.

Now, we come to the parallels between the tarmac scene and TFP:

“Another well-known story is that the actors did not know until the last day of shooting how the film was to end. (Delayed Sherlock scripts, and actors saying they didn’t know in advance where their story arcs were going.) In the case of Casablanca, this was later refuted... The original play (set entirely in the cafe) ended with Rick sending Ilsa and Laszlo to the airport. During scriptwriting, the possibility was discussed of Laszlo being killed in Casablanca, allowing Rick and Ilsa to leave together, but as Casey Robinson wrote to Hal Wallis before filming began, the ending of the film "set up for a swell twist when Rick sends her away on the plane with Laszlo. For now, in doing so, he is not just solving a love triangle. He is forcing the girl to live up to the idealism of her nature, forcing her to carry on with the work that in these days is far more important than the love of two little people." (Remember, John is Ilsa) It was certainly impossible for Ilsa to leave Laszlo for Rick, as the production code forbade showing a woman leaving her husband for another man. (Much like the film code prevented TPLOSH from having Holmes and Watson as a gay couple). The concern was not whether Ilsa would leave with Laszlo, but how this result could be engineered. The problem was solved when the Epstein brothers, Julius and Philip, were driving down Sunset Boulevard and stopped for the light at Beverly Glen. At that instant the identical twins turned to each other and simultaneously cried out, "Round up the usual suspects!" (Which is literally what they did in S4, especially TFP. The key players are all rounded up, and we have our twins reference) By the time they had driven past Fairfax and the Cahuenga Pass and through the Warner Brothers studio's portals at Burbank, in the words of Julius Epstein, "the idea for the farewell scene between a tearful Bergman and a suddenly noble Bogart" had been formed and all the problems of the ending had been solved.” (No loose ends...)

That issue of the Prime Minister, that came up in T6T? In the original play (the curtain rises, the scene is set), the correct PM is written: Weygand. In the subtitles for the English DVDs, it says De Gaulle. At the time of the film, he was head of the Free French government in exile, so a letter signed by him would have provided no benefit.

In the scene where Lazlo begins the national anthem, La Marseillaise, these are the lyrics:

Arise, children of the Fatherland! The day of glory has arrived! Against us, tyranny raises its bloody banner. Do you hear, in the countryside, the roar of those ferocious soldiers? They’re coming to your land to cut the throats of your women and children!

To arms, citizens! Form your battalions! Let’s march, let’s march! Let their impure blood water our fields!

John in TFP: Today, we have to be soldiers, Mycroft, soldiers. And that means to hell with what happens to us!

Sherlock: Soldiers.

John: Soldiers.

Going back to the first image, look at the name of the bar. The Attic. Where does Sherlock locate Eurus? In the attic (last image)...

Tellingly, this is what Umberto Eco said of the film (which originally, had a solid opening, but nothing meteoric) "Thus Casablanca is not just one film. It is many films, an anthology. Made haphazardly, it probably made itself, if not actually against the will of its authors and actors, then at least beyond their control. And this is the reason it works, in spite of aesthetic theories and theories of film making. For in it there unfolds with almost telluric force the power of Narrative in its natural state, without Art intervening to discipline it....When all the archetypes burst in shamelessly, we reach Homeric depths. Two clichés make us laugh. A hundred clichés move us. For we sense dimly that the clichés are talking among themselves, and celebrating a reunion. Eco also singled out sacrifice as one of the film's key themes: "the myth of sacrifice runs through the whole film." It was this theme which resonated with a wartime audience that was reassured by the idea that painful sacrifice and going off to war could be romantic gestures done for the greater good. (We’re back the Greek references that permeated S4, the status of Anteros at the beginning of the opening credits to the show, and the overall reception from viewers of TFP.)

Also, remember Mark saying: “I’m a gay man. This is not an issue. But we’ve explicitly said this is not going to happen—there is no game plan—no matter how much we lie about other things, that this show is going to culminate in Martin and Benedict going off into the sunset together.” Well, if John as Ilsa has vacated the premises, and left that part of himself with Mary, it makes sense. Because, at the end of Casablanca, Rick walks off into the fog with Captain(!) Renault.

Regarding the clues we’ve been getting about 6, 40, & 27. In the summer of 1940, the 27-year-old teacher Murray completed the play in six weeks with the collaboration of Joan Alison. It was never shown as such until London in 1991, for 6 weeks.

Tagging @graceebooks @impatient14 and @whimsicalethnographies @may-shepard @jenna221b because they replied to some of the minor bits I added onto existing posts, which then became this...thing. Anyway, thanks for reading.

[holaafrica]

The next time you are with a girl, it feels like the house you grew up in except all the doors have moved. You know what’s inside but you have no clue how to get there. She smiles at you, you smile at her and you feel like a failure. http://holaafrica.org/normal/

Normal

By ‘Bree’

Brought to you by the Guernica/PEN Flash Series. This piece is from Guernica/PEN Flash Series from a Nigerian writer they encountered while working on a report documenting the effects of Nigeria’s repressive anti-LGBT laws. The current situation is so threatening the writer requested they maintain her complete anonymity.

A different version of this piece appeared in Blessed Bodies, an anthology of Nigerian LGBT stories edited by Unoma Azuah.

You are a lesbian contemplating life and future. He is purely hetero and thinks that lesbians are deviants. It is a shock to you the first time you have sex. Or perhaps you should say, the first time he fucks you, because that’s what he does; with you bent over trying to disappear as he plunges into you, each thrust tearing into your identity that used to be certain. You know you should call it rape, but in some part of your head you enjoy it. And that’s what fucks you up. You enjoy it when he touches you; your breasts want his touch, your pussy moistens when he lies on your body; you spread your legs, you bend over, you kneel when he asks you to. And you enjoy it.

You never call the shots. You are not sure what the shots are. Head till morning? Reverse cowgirl? You didn’t know these things before you discovered women.

You know his views about lesbians: they exist only to be watched…or fucked as a threesome. You have a couple. He watches as your fingers and mouth work the girl writhing under you. You smile at him. You cannot help the thought that this is all for him. He is sure that every lesbian just needs a dick, and when you dispute it, he points at you lying naked on the bed and says, But you’re a lesbian, aren’t you? He postulates about emotional trauma, mind orientation, religion, and unnaturalness…you try to change his mind, but he starts to change yours. You become the person in his head.

It’s not all bad; you like him. In some part of your heart you love him. You know though that this is not the love that seizes your heart and sets it beating to a mad crazy tune. You are used to him; you understand him. You are grateful that he allows you to be bisexual. You start to think of life with a man. You lie on his chest and as you both doze off you decide that you can give up women.

The next time you are with a girl, it feels like the house you grew up in except all the doors have moved. You know what’s inside but you have no clue how to get there. She smiles at you, you smile at her and you feel like a failure.

You start to push back against the woman he has in his head. You justify yourself—you talk to him about craving a wife. He asks you if this means you now want to be a man. You stop arguing. He tries to touch you and you fight him; it excites him so you stop. He takes you. You disappear as he pounds away. You feel him falter and then stop. You pick up your clothes and put them back on and try not to hate him or yourself.

One day he talks to you about the ones who tried to break you. He says, It was about control. You look at him, and the irony is a tart, bittersweet taste in your mouth. You realize this: he owns you until he decides that he no longer wants you. This is not about sexuality; this is about possession. You stop.

The next time he tells you all the different ways he is going to fuck you, you smile. You look for the excitement but it doesn’t come. His mouth on your breasts does nothing. He fucks you with his fingers, trying to transfer the frenzy in his blood. You tell him that you are not wet; he says, You would be shocked at how wet you are. You don’t explain that wet in your pussy is not the same as wet in your head.

He lays you down and starts to fuck you.

You raise your legs to his waist and then over his shoulders. The pain hits with each stroke and when he sees your face he turns gentle, then stops, flips you over ass up—his favorite position. He plunges in and stops when you shriek. He lays you flat and starts again. You raise your ass obligingly, wind and moan…and when he tells you that he is about to cum, you tell him almost maternally to go ahead.

When he is done he asks, Why do I feel so stupid? You smile. For the first time since you started this, there is no anger or hate; there is no more confusion. You will stop justifying yourself to him. You will stop explaining what makes you a lesbian, stop trying to show him who you are. You will stop defining yourself by his normal.

Published on the Guernica webiste as part of Guernica/PEN Flash Series

For more pieces like this check out So I let A Guy Fuck Me, I am Tired Of Bad Sex and Outset. There is also this one about taking that journey to exploring men.

*leave a comment on the post, you can write it under a different name and your email will not be published.*

To submit to HOLAA! email submissions@holaafrica.org