#Whitney McGuire

[art]

Automattic Presents: Under Pressure with Ana Teresa Fernández 

For Climate Week NYC, we’re hosting a panel discussion on September 20 in our Noho Space. Artist and activist Ana Teresa Fernández will be joined by Cristina Gnecco (Co-Founder of HOPE Hydration) and Whitney McGuire, Esq. (Director of Sustainability at the Solomon R. Guggenheim Museum) in exploring how art and innovation can catalyze positive change, inspiring us to take newfound insights into the world and encourage collective action.

The panel will be held against the backdrop of Ana Teresa Fernández’s provocative series, Under Pressure—a multi-disciplinary work comprising video, photography, paintings, and sculpture that engages with questions of responsibility and response in relation to the climate emergency and rising sea levels.  Tune in to the livestream of the Under Pressure panel discussion on September 20 at 6:45 PM ET! Right here on Tumblr.com.

[todayontumblr]

Wednesday, September 20.

Hello. You will be all too aware that what was for so long referred to as climate change has recently, and necessarily, come to be known as the climate emergency. And that is because that is exactly what this is—but emergencies need not be so paralyzing. Everyone has their part to play, whether your proverbial Jo Average, or those at the summit of politics and activism, the sciences, or indeed, the arts.

For Climate Week NYC, Automattic will be joining forces with artist and activist Ana Teresa Fernández for just that purpose. Today, September 20, we will be hosting a panel discussion in our Noho Space. Also joining us will be Cristina Gnecco (Co-Founder of HOPE Hydration) and Whitney McGuire, Esq. (Director of Sustainability at the Solomon R. Guggenheim Museum) in exploring how art and innovation can catalyze positive change, inspiring us to take newfound insights into the world and encourage collective action.

The panel will be held against the backdrop of Ana Teresa Fernández’s provocative series, Under Pressure—a multi-disciplinary work comprising video, photography, paintings, and sculpture that engages with questions of responsibility and response in relation to the climate emergency and rising sea levels. 

You can tune in to the livestream of the Under Pressure panel discussion on September 20 at 6:45 PM ET, right here on Tumblr.

[isaterriblebore]

StEx Appreciation Month Day 9: Belle the Bar Car

Favourite Actor Rochelle Sherona, Molly McGuire, Halimah Kyrgios, Jessie Angell, Sydnie Christmas. Favourite Songs/Scenes I love her in Ich Bin Ich and during the race 😊 Favourite Costumes I don’t think it’s changed much and I’m content with how it looks 😊 Favourite Ships I really like Belle/Coco! Headcanons I think she is really fun on a night out and she kills it at karaoke! She’s also one of those people who can drink and party but wake up with no hangover (I don’t drink so idk how common that is but oh well lol). Unpopular Opinions I love Belle but I disagree when people argue that it’s good that they got rid of Ashley because of the smoking when Belle drinks a lot for most of the show and is sometimes shown to be drunk during the races.

Photo 1: Molly McGuire - Bochum 2022. Photo 2: Rochelle Sherona - Bochum 2018. Photo 3: Whitney Martins - Bochum 2019. Photo 4: Jessie Angell - Bochum 2023 Photo 5: Dieuwke Tönissen - Bochum 2021 Photo 6: Sydnie Christmas - Bochum 2018

[sometimesigif]

⬇️ Tag drop ⬇️

Actors & Actresses

al st john

alan tudyk

aleksandr demyanenko

aleksandr trofimov

aleksei kuznetsov

alexandra yakovleva

alice lake

alice mann

alisa freindlich

alla demidova

anastasiya vertinskaya

anita page

andy whitfield

anne cornwall

barbara brylska

bartine burkett

ben barns

beulah booker

brown eyes

bruno ganz

buster keaton

conrad veidt

dmitri zolotukhin

dorothy christy

dorothy sebastian

edward norton

ekaterina savinova

eleanor keaton

evgeniy leonov

heath ledger

igor starygin

inna churikova

innokenty smoktunovsky

irene purcell

irina alfyorova

ivan pyryev

jack black

jason isaacs

joe keaton

joe roberts

karin boyd

kate beckinsale

kate price

kathleen myers

kathryn mcguire

klara luchko

klaus maria brandauer

larisa guzeeva

linda hamilton

liv tyler

luciena ovchinnikova

luke the dog

lyudmila gurchenko

marceline day

margaret leahy

margarita terekhova

marina dyuzheva

marion byron

marion mack

mikhail boyarsky

mikhail kozakov

mona maris

nadezhda rumyantseva

naomi watts

natalie talmadge

natalya krachkovskaya

natalya seleznyova

natalya varley

nora arnezeder

norman reedus

oleg menshikov

oleg tabakov

orson welles

paul bettany

paulette dubost

peter falk

phyllis barry

phyllis haver

renee adoree

rosalind byrne

roscoe arbuckle

ruth dwyer

ruth selwyn

sally eilers

sally o'neil

snitz edwards

sofiko chiaureli

sofiya pilyavskaya

sybil seely

tatyana lyutaeva

thelma todd

tilda swinton

tom hiddleston

valentin smirnitsky

veniamin smekhov

virginia fox

whitney houston

yanina zheymo

yelena ukrashchyonok

yuriy yakovlev

Characters

anne of austria

aramis

assol

athos

bagheera

baloo

buckingham

cardinal richelieu

constance bonacieux

d'artagnan

daryl dixon

edward rochester

geoffrey chaucer

grigori rasputin

king louis xiii

laura lyons

milady de winter

mowgli

peter the great

porthos

raksha

sarah connor

shere khan

van helsing

Origin

american cinema

american tv show

austrian cinema

barbie movies

behind the scenes

czech cinema

french cinema

german cinema

hungarian cinema

other peoplez edits

russian animation

russian cinema

silent cinema

soviet animation

soviet cinema

soyuzmultfilm

Directors

adolf trotz

aleksandr ptushko

aleksandr sery

alexander rowe

aleksey korenev

alla surikova

andrei tarkovsky

brian helgeland

don bluth

edward sedgwick

eldar ryazanov

gary goldman

georgi yungvald-khilkevich

gleb panfilov

igor maslennikov

istván szabó

james cameron

jim jarmusch

kirill mikhanovsky

leonid gaidai

mikhail shapiro

mikhail tsekhanovsky

nadezhda kosheverova

owen hurley

peter jackson

robert stevenson

sergey gerasimov

stephen sommers

svetlana druzhinina

vadim medzhibovskiy

vera tsekhanovskaya

vladimir menshov

wim wenders

Time Periods

1910s

1920s

1930s

1940s

1950s

1960s

1970s

1980s

1990s

2000s

2010s

Films & Shows

a cruel romance

a knight's tale

a man from boulevard des capucines

adventures of mowgli

anastasia

at the beginning of glorious days

back stage

barbie as rapunzel

barbie as the princess & the pauper

barbie in the 12 dancing princesses

barbie in the nutcracker

barbie of swan lake

battling butler

carnival night

cinderella 1947

clever dog sonya

college

coney island

convict 13

cops

d'artagnan and the three musketeers

dämen der frauen

daydreams

der himmel über berlin

doughboys

for family reasons

free and easy

gentlemen of fortune

give me liberty

go west

good night nurse!

hard luck

high sign

his wedding night

ivan vasilievich changes occupation

jane eyre 1943

le roi des champs-élysées

look for a woman

love and doves

maugli

midshipmen onwards!

mirror

moonshine

morozko

my wife's relations

musketeers twenty years after

neigbors

oh doctor!

one week

only lovers left alive

operation y and shurik's other adventures

our hospitality

out west

parlor bedroom and bath

pokrov gates

prince of foxes

prisoner of the caucasus or shurik's new adventures

scarlet sails

seven chances

sherlock jr

sidewalks of new york

spartacus: blood and sand

spartacus: gods of the arena

speak easily

spite marriage

steamboat bill jr

sweet november

terminator 2: judgement day

the adventures of sherlock holmes and doctor watson

the balloonatic

the beginning

the bell boy

the blacksmith

the boat

the bodyguard

the butcher boy

the cameraman

the cook

the electric house

the fellowhip of the ring

the frozen north

the garage

the general

the girls

the goat

the haunted house

the hayseed

the holiday

the hound of the baskervilles

the incredible hulk

the irony of fate or enjoy your bath!

the kuban cossacks

the lord of the rings

the love nest

the navigator

the painted veil

the paleface

the passionate plumber

the rough house

the saphead

the scarecrow

the walking dead

the wild swans

the words

this is your life

three ages

van helsing

watch out for the automobile

what - no beer?

wings of desire

young russia

[sapphiredhearts-a]

hello! this is not meant to be a bother, but i was wondering if you happened to have a list of fcs for your muses or if you’d be willing to type one out? again very much not trying to be a bother or anything just honestly curious and would like to know!

hi friend !! not a bother at all !! almost all of my fcs are different from canon so it's probably hard to keep up ! I have a lot of muses so I'll add it under the cut ! I've been away from tumblr for a long time so if you see something that isn't super accurate please don't hesitate to let me know !! I relied real heavily on rph resources & tried to google search as much as possible but I know it's not always the best & I wanna stay true to what I can !! also pls forgive the non-formatting the list is long & I am literally copy & pasting this . ( also also if anyone's name is misspelled it's literally because I wrote this as I went & not intentional - some of them may also be abbreviated I can't remember if I went back & fixed it )

twilight

jacob black - blair redford

isbaella swan - maia mitchell

edward cullen - christopher briney

emmett cullen - adam dimarco

esme cullen - sadie sink

serena ( hybrid ) - dove cameron

sam uley - marlon teixeira

seth clearwater - booboo stewart

paul lahote - alex meraz

the hunger games

katniss everdeen - devery jacobs

peeta mellark - froy gutierrez

lucy gray - rachel zegler

finnick odair - gavin casalegno

annie cresta - lola tung

vampire academy/ bloodlines

adrian ivashkov - thomas doherty

sydney sage - sydney sweeney

eddie castile - josh hutcherson

charmed

piper halliwell - zendaya

phoebe halliwell - whitney peak

leo wyatt - jacob elordi

cole turner - michael trevino

one tree hill

brooke davis - olivia rodrigo

nathan scott - tyler posey

haley james - alba baptista

julian baker - douglas booth

peyton sawyer - penelope mitchell

f.r.i.e.n.d.s.

monica gellar - lana condor

chandler bing - dylan o'brien

joey tribbiani - rege jean page

phoebe buffay - lili reinhart

gg

blair waldorf - leighton meester

nate archibald - chace crawford

serena van der woodsen - blake lively

the host

wanderer - kat mcnamara / tanaya beatty

ian o'shea - luke pasqualino

jared howe - theo james

original characters

analeigh ateara - fivel stewart

josie baker - natalia dyer

daisy fairstone - adelaide kane

salem cromwell - nina dobrev

tda

julian blackthorn - daniel sharman

a court of thorns & roses

feyre archeron - danielle rose russell

rhysand - matthew daddario

disney

david 'gordo' gordon ( lizzie mcguire ) - alberto rosende

miley stewart ( hannah montana ) - miley cyrus

rose ( american dragon jake long ) - madelyn cline

sharpay evans ( hsm ) - sabrina carpenter

alex fielding ( twitches ) - halle bailey

nicholas sparks

allie hamilton ( the notebook ) - abigail cowen

noah calhoun ( the notebook ) - logan lerman

will blakelee ( the last song ) - noah centineo

[ruhijhaa]

Wednesday, September 20.

Hello. You will be all too aware that what was for so long referred to as climate change has recently, and necessarily, come to be known as the climate emergency. And that is because that is exactly what this is—but emergencies need not be so paralyzing. Everyone has their part to play, whether your proverbial Jo Average, or those at the summit of politics and activism, the sciences, or indeed, the arts.

For Climate Week NYC, Automattic will be joining forces with artist and activist Ana Teresa Fernández for just that purpose. Today, September 20, we will be hosting a panel discussion in our Noho Space. Also joining us will be Cristina Gnecco (Co-Founder of HOPE Hydration) and Whitney McGuire, Esq. (Director of Sustainability at the Solomon R. Guggenheim Museum) in exploring how art and innovation can catalyze positive change, inspiring us to take newfound insights into the world and encourage collective action.

The panel will be held against the backdrop of Ana Teresa Fernández’s provocative series, Under Pressure—a multi-disciplinary work comprising video, photography, paintings, and sculpture that engages with questions of responsibility and response in relation to the climate emergency and rising sea levels. 

You can tune in to the livestream of the Under Pressure panel discussion on September 20 at 6:45 PM ET, right here on Tumblr.

#today on tumblr#under pressure#climate crisis#climate change#climate emergency#climate action#climate and environment#art#art activism#climate week nyc#noho space#ana teresa fernandez

[keychainsblog]

Happy birthday to the new country music artist and TikTok superstar who has a first song down bad Caden McGuire. Caden is Content creator whose cadenmcguire TikTok account features situational comedy skits, lip-sync dialogue and dance routines. His themes include rural living, relationships, faith and football. He has attracted 2.5 million fans to the account. He has a first amazing talented song, his new song is coming soon with famous beautiful TikTok artist and podcast host Whitney Wren. 💯🍾🎂💫😎🎊

[citylifeorg]

The Guggenheim Museum Deepens Sustainability Efforts toward Climate Action

Illustration by Arly Maulana Whitney McGuire appointed Associate Director of Sustainability. Comprehensive Carbon Emissions Study of Cecilia Vicuña’s exhibition, Spin Spin Triangulene, with Art into Acres. Guggenheim hosts events for The World Around’s Young Climate Prize and the Gallery Climate Coalition The Guggenheim, across its constellation of museums in New York, Bilbao, Venice, and Abu…

[universomovie]

Como o Brooklyn sustentável está exigindo uma redefinição da sustentabilidade

por NIA GROCE Foto de Timothy Smith | Cortesia de Brooklyn Sustentável Tudo começou com um DM para os cofundadores do Brooklyn Sustentável , Whitney McGuire e Dominique Drakeford. A dupla comemora cinco anos de esforços de sustentabilidade e justiça social com sua organização de base este ano, no entanto, sua atração pela moda começou muito antes para ambos, que descobriram suas paixões quando…

[singeratlarge]

HAPPY BIRTHDAY to Abraham Lincoln, Moe Bandy, Tex Beneke, Judy Blume, Josh Brolin, George Cohan’s 1906 musical GEORGE WASHINGTON, Charles Darwin, music curator Anthony Ferraro, Rick Frank (Elephant’s Memory), George Gershwin’s RHAPSODY IN BLUE (1924), Steve Hackett, Omar Hakim, Arsenio Hall, Michael Ironside, Joseph “Mr. Wilson” Kearns, Ray Kurzweil, Bill Laswell, Ray Manzerek, Cotton Mather, Christopher McCandless, Gene McDaniels, Michael McDonald, The McGuire Sisters’s 1955 single “Sincerely,” Gil Moore (Triumph), The NAACP, Chynna Phillips, Josef Reicha, Christina Ricci, Brian Robertson (Thin Lizzy), great rock bassist Joe Schermie (3 Dog Night), Bob Shad, former bandmate and one of my favorite drummers Jason Shuman, Forrest Tucker, and legendary actor-singer Lorne Greene. He’s imbedded in TV culture as Commander Adama in the original BATTLESTAR GALACTICA, and as Ben Cartwright in the long-running western BONANZA. Extending from that, Greene released a series of Old West-themed recordings—his 1964 cowboy story “Ringo” hit #1 (also dial up his appearances on the Johnny Cash TV show circa 1970). Greene started in radio, and his remarkable bass voice made him a perfect narrator. 

One day in 1992, I was working in a recording studio and happened across boxes of this 1976 Bicentennial COLONIAL KEYSTONE LP featuring Lorne Greene. The studio was in Northumberland, Pennsylvania—an unlikely hub for a well-appointed facility built by “local genius” Bob Spangler. That studio was an intersection for acclaimed pop/rock acts (The Badlees, Hybrid Ice, Whitney Houston) and composers (William Duckworth), and it was where I began working with Davy Jones (Monkees). One of Bob’s early career moves was to record Greene for this spoken word project. When I asked Bob about the LP, he dug out a photo album that documented Greene’s appearance—a “big star” who cheerfully accommodated the small-town citizens of central PA. The COLONIAL KEYSTONE LP was reissued on CD on the Cherry Red label. Meanwhile, HB to LG. Thank you for your hours of giving people edification and quality entertainment.

#LorneGreene #BattlestarGalactica #Bonanza #BenCartwright #ColonelAdama #TVstar #narrator #Pennsylvania #Bicentennial #Northumberland #Badlees #HybridIce #WhiteneyHouston #WilliamDuckworth #DavyJones #Monkees #ColonialKeystone #CherryRed #spokenword

[betterbooksandthings]

“Get ready to audibly laugh and visibly swoon from a fine set of funny SFF romance books. These books put the punch in punchline, the aww in absurd, and the God in oh my God. When humor, romance, and SFF (Science Fiction/ Fantasy) elements come together, I just get excited.

Science fiction and fantasy are genres known to lean into absurdism. With plots that can include face-to-face relationships with God, the inner thoughts of artificial intelligence, and the realities of living in a world where magic is real, there is a lot of comedic potential. There is also a reason why romantic comedies are wildly popular. Sometimes witty banter between partners and horrible meet cutes are just what we need before our HEAs. So, it is no surprise that the interaction between these two good things has always been my bookshelf catnip.

I love things that are a bit absurd, a bit romantic, and a bit fantastical. It is one of the main reasons I love medieval and early modern literature. The bawdy Lais of Marie de France feature hawk knights who swoop into the towers of unhappily married ladies (Yonec). The wild plays from William Shakespeare center fairies absolutely destroying everyone’s romantic lives (A Midsummer Night’s Dream). I like them because they are messy and magical and just a bit brash. Ultimately, I think having a bit more fun with things is never the wrong choice.”

[yurtletheturtlehenderson]

Song Tag 📻

Big thank you to the wonderful @dumdumsun for the tag! 😌🤲💝

Rules: spell out your URL with song titles. Then tag as many people as there are letters in your URL**

Y ━ You Only Want Me When You're Lonely by Jim Boyd

U ━ Under The Milky Way by The Church

R ━ Right Back Where We Started From by Maxine Nightingale

T ━ The End of the World by Skeeter Davis

L ━ Look On The Bright Side Of Life by Monty Python

E ━ Eve of Destruction by Barry McGuire

T ━ The Bitch Is Back by Elton John

H ━ Harold Jenkins by Igtoluh

E ━ Earth by Sleeping at Last

T ━ Time Warp by Little Nell, Patricia Quinn, Richard O'Brian from The Rocky Horror Picture Show

U ━ Unwind Yourself by Marva Whitney

R ━ Reconsider Baby by Elvis Presley

T ━ This Year's Love by David Gray

L ━ Live and Let Die by Paul McCartney, Wings

E ━ Eight by Sleeping at Last

H ━ Hello Walls by Willie Nelson

E ━ Everybody (Backstreet's Back) by Backstreet Boys

N ━ Night's In White Satin by The Moody Blues

D ━ Dancing in the Moonlight by King Harvest

E ━ End Of The Line by Traveling Wilburys

R ━ Reflecting Light by Sam Phillips

S ━ Sweet Dreams (Are Made of This) by Eurythmics

O ━ Only You (And You Alone) by The Platters

N ━ Never Tear Us Apart by Paloma Faith

♡ no pressure, no specific order tag ♡: @emo-space-tea @witch-of-all-things-soft @ongaku-ato-kakikomi @night-yoarrbe @shawkneecaps @terrazaurio @ohmyitsfaith @ba-responds @bex-stranger-things @omni-idiot-fanfics @little-boats-on-a-lake @a-girl-who-loves-disney @whatawonderfulusername @vicassa @white-wolf-buckaroo @guineverebeckilicious @alpacataco @okimreadynow @onlyroad @popacherryvisitalibrary @disaster-magician @lonerstolovers ━ this basically ended up being the taglist since i sadly dont have that many mutuals 💀 feel free to ignore if you want, loves!

**I added my own little challenge for my own sake cause I wanted to narrow things down—these are from my growing playlist for a WIP of mine, [hence some of the weird choices] TSU! But of course that was just me, anyone is free to do the tag game normally or however they want

[my-mt-heart]

I was just catching up on your blog. I have seen source(s) that have confirmed recently that the Daryl and CAROL spinoff is 100% confirmed. And recently like as far back as last month. Yet, it seems from here to Twitter, Carylers are worried out their minds. Even if/when they reconfirm it, some of the Caryl shippers are still going to leech their disbelief abroad.

If there's a rumor of AMC releasing a Carol and Ezekiel spinoff, Carylers would believe it more than not.

If AMC releases a statement WITH the title for the Daryl and Carol spinoff, Carylers will become anxious if a rumor spreads that the title is being rescinded.

If the Spinoff with Carol is confirmed at SDCC, a rumor about Melissa having to back out will throw whatever official statement to the contrary was made.

And you know I could go on and on, but how about we just live like we're getting the spinoff? The uncanny ability we have as a community to believe rumors OVER official statements is unbelievable. I don't know where we get the energy as a fandom to do that.

Everyone knows Melissa McBride is the best actress that came out of TWD. And I am not exaggerating. Everyone knows that; both cast and crew think she is the Whitney Houston/Mariah Carey of acting for television, from the way they talk about her. She's had the best character arc. No other woman, let alone character, has the range Melissa McBride plays in Carol. You don't get lower than a timid, abused housewife and she's been at the top for a long time. She's not going anywhere. There is nothing wrong with Norman and Melissa's friendship, either (not that it is any of my business if they were having issues). We have a little over five months to go before the last 8 episodes come out for our viewing. We have got to hold it together until then. Do not expect for any awesome, exciting news in our favor to come out in that time frame. Expect the contrary. And just ignore it.

I mean, listen. As fans, it's pretty scary to have three years in between the spinoff of our dreams being announced and finally seeing it on screen. There's an uncomfortable amount of space for things to go wrong, and it could happen at any stage. Take the Lizzie Mcguire reboot for example, I say to all you other millennials out there reading this. But thankfully, Daryl and Carol being the cash cows that they are makes it far more likely for AMC to fight to the death to make this happen.

Yes, we've gotten confirmation fairly recently, but even better, AMC did respond to the rumors and they said they're not true. That was good enough for me. It's sad that there is still so much uncertainty and anxiety and it's making me become unsatisfied just like everybody else. All we can do is wait while the studio takes pleasure in our pain. I don't think they'll be able to string us along for six months.

For what it's worth, if it ever does come to light that Daryl is getting his own show, I will have THOUGHTS. You know, along the lines of the studio placating it's biggest male star to the detriment of, as you said, the best actress that came out of TWD. And then I will peace the fuck out.

And if we get confirmation that the Caryl spinoff is still a go, you're absolutely right that it'll only be a matter of time before something else comes along to make us worry. What a long, long hiatus it'll be...

[skyfire85]

I've been posting these on opposite-lock.com and drivetribe.com, and I wanted to share this one here too.

An F-94C belonging to the 27th Fighter-Interceptor Squadron in New York being readied for a flight in 1955. | Photo: USAF

FLIGHTLINE: 112 - LOCKHEED F-94 STARFIRE

Developed from the T-33 Shooting Star trainer, the F-94 was a first-generation jet fighter/interceptor which fought in Korea but was quickly retired.

In 1948 the newly independent USAF released a specification for a radar-equipped jet fighter/interceptor to replace the WWII-era F-61 Black Widow and the early post-war F-82 Twin Mustang. Lockheed responded with a design based on their T-33 jet trainer, which was in turn based on the F-80 Shooting Star fighter. Two existing TF-80C (the original designation for the T-33) were modified with a new nose containing the guns, radar and fire control systems. The original Allison J33 engine was replaced by and uprated J-33-A-33, which was fitted with an afterburner, the first American production aircraft to be so equipped. These two YF-94s retained approximately 75% commonality with the earlier T-33 and F-80. The first flight of a YF-94 was on 16 April 1949, several months after a production contract had been signed.

The second YF-94A, serial number 48-373. | Photo: USAF

PRODUCTION, TEETHING PROBLEMS, AND UPDATES.

The F-94A entered service in May 1950, with 109 produced. This first model was armed with four .50 cal Browning machine guns in the lower nose, and like the F-80 and T-33 was normally fitted with a pair of 165 gallon drop tanks on the wingtips to increase range. Aircrews were not fond of these planes, and there were numerous issues with the early design. The afterburner-equipped J33s were not reliable, with issues plaguing the igniter and flame-holder. These problems caused a number of ground aborts and other in-flight emergencies. The F-94A was also unstable in flight and had poor high-altitude maneuverability. Finally, crews found the cockpit cramped and difficult to enter in an alert or scramble situation. There were also clearance issues with the ejection seats, resulting in several fatalities.

F-94A s/n 49-2548 of the 2nd FIS at McGuire AFB in 1952. | Photo: USAF

Lockheed began deliveries of the improved F-94B in January 1951. This aircraft was outwardly similar to the F-94A, but the cockpit was reworked to improve crew comfort and performance, as well as to correct the fatal flaws with the ejection seat clearance. The J33 engine was much improved as well, becoming a much more reliable power plant. A new instrument landing system (ILS) was added, and a gun pod was developed that would add two additional 50 cals under each wing, bringing the total to eight guns. As the new F-94Bs were introduced, older A models were returned to Lockheed and updated to the B standards. As newer aircraft replaced the F-94 in service, the planes were passed down to Air National Guard units, where they served until the late 1950s.

An F-94B from the 61st FIS at Selfridge AFB in Michigan, some time in 1952.

SERVICE AT HOME AND ABROAD.

As befitting the F-94s intended role as an interceptor, the aircraft were mostly flown under Air Defence Command auspices, equipping some 26 squadrons. The F-94s replaced older F-82F Twin Mustangs, which had been hurriedly pressed into service after a 1949 display by the USSR of the Tu-4 (NATO code name "Bull") bomber, a reverse-engineered copy of the Boeing B-29. The F-94 turned out to be somewhat inferior to the Twin Mustang however, having shorter legs than the F-82, as well as relying more on ground-based radar to guide them to targets. Despite these shortcomings, procurement of the F-94 continued, with air groups around the country replacing F-47 Thunderbolts, F-51 Mustangs, F-80 Shooting Star and F-86A Sabre day fighters with F-94As and later updated B models. Three Air National Guard (ANG) units, the 121st FIS (DC ANG), 142nd FIS (Maine ANG), and 148th FIS (Pennsylvania ANG) received F-94Bs and were placed on active duty to guard the Washington, DC airspace during the Korean War.

Two F-94s fly in formation with an F-82 Twin Mustang in 1950. | Photo: USAF

F-94s also saw deployment to Japan and South Korea as the Korean War heated up, with the first F-94Bs arriving in Japan during March of 1951 to train pilots on the new jet. Flights of Soviet MiG-15 fighters over Seoul in December of that year saw some of these aircraft being detached to Suwon Air Base to defend the South Korean capital. By March of 1952, F-94s from the 319th FIS were flying escort missions for B-29 bombers. Early encounters with Soviet MiGs indicated that they had been equipped with radar warning receivers, as the communist fighters would begin evasive maneuvers once the US aircraft locked-on. USAF F-94s were credited with several kills during the conflict, including the first jet-versus-jet night intercept. After the 1953 Armistice, F-94s remained in South Korea and Japan to fly air defense missions, finally being replaced in 1954 by radar-equipped F-86D Sabre Dogs.

An F-94B belonging to the 68th FIS at Suwon Air Base. This aircraft suffered an engine fire in December 1952 and crashed, killing both crew. | Photo: USAF

YF-97A STARFIRE.

Even before the F-94 started seeing service, Lockheed began work on a massively redesigned and improved interceptor. This new plane, tentatively designated the YF-97 Starfire, retained the fuselage of the F-94, but had a new, thinner wing, along with swept horizontal stabilizers. The troublesome J33 was replaced by the Pratt & Whitney J48, a license-built copy of the Rolls-Royce Tay turbojet which powered the Dassault Mystère IV fighter/bomber. The fire-control and radar systems were also upgraded, resulting in a larger nose. Also fitted in the nose were four trays of six 2.75" FFAR, which fired out through four fold-in doors. The Browning machine guns were deleted. In service, firing these rockets tended to blind the crew, and there were issues with the engines ingesting rocket exhaust and flaming out. In response, pods were developed that fitted to the wing along the leading edge, each of which carried 12 FFAR. The nose trays were then left empty most times. This new aircraft was eventually designated the F-94C, gaining the nickname Starfire, which eventually became applied to earlier models of the F-94 as well. Lockheed began delivery of the F-94C in 1954, and they were quickly incorporated into the Semi-Automatic Ground Environment (SAGE) air defense system. As Starfire deliveries ramped up, the earlier F-94Bs were passed down to ANG units, then were retired.

One of the YF-94C prototypes with the nose rocket doors open. | Photo: USAF

An F-94C, with its FFAR loading trays open, being services by two USAF Airmen. | Photo: USAF

STARFIRE ECLIPSED.

Despite being an advanced aircraft at the time of development, the rapid pace of aviation in the 1950s soon saw the F-94s made redundant by more capable interceptors like the F-86D Sabre Dog and the F-89J Scorpion. The Starfire was removed from front-line USAF service in 1957, after just 3 years, and the type was phased out of ANG service in 1959. A number of aircraft have been preserved around the US, among them a YF-94A prototype at Edwards AFB which is awaiting restoration, two F-94As, and 11 YF-94C and F-94C examples.

PRUNED BRANCHES OF THE FAMILY TREE.

In addition the fighter/interceptor variants, Lockheed also pursued other missions for the F-94. F-94C s/n 50-963 was retained by Lockheed for a possible photo recon variant. The EF-94C ("E" for Exempt rather than "R" for reconnaissance because it was a self-financed research program) saw the radar and missiles replaced by cameras and sensors. The USAF was not interested, and the plane was later scrapped.

The EF-94C, possibly at Lockheed's plant. | Photo: Lockheed Corp.

In January 1951, Lockheed received a contract for 113 single-seat fighter/bombers based on the F-94C. The existing fuselage, tail and engine of the Starfire would be mated to a new, larger nose containing 8 .50cal machine guns and a new wing that was 50% larger. The fighter/bomber, designated the F-94D, would be capable of carrying 4,000lbs of bombs and rockets, and would have had a refueling probe for increased range. Two F-94Bs were modified with the new nose and wing to trial various configurations for the YF-94D. The USAF canceled the F-94D project on 15 October 1951, preferring that Lockheed focus on the F-94C interceptor instead. One of the F-94Bs from the program, s/n 51-5500, was later bailed to General Electric for use as a testbed for the T-171 (later M61A1) Vulcan cannon.

F-94B s/n 51-5500, late of Mass. ANG, modified with an experimental nose and wing for the stillborn F-94D program.

[somethingqueerisgoingonhere]

The Simpsons

Prepare yourself, this is one long list.

Patty and Selma 

Sherri and Terri

In the episode: Treehouse of Terror VII, in one of the fictional stories Bart had a conjoined twin at birth whom he was separated from. His twin is called Hugo Simpson II and is considered the “evil twin”. 

In the episode: Marge vs. The Monorail there is a set of conjoined twins.

The Winklevoss twins, a reference to the real life Winklevoss’ who sued Mark Zuckerberg and their depiction in the film The Social Network

Barrow and Wheel Spuckler, conjoined twins

Ezekiel and Ishmael

Another set of twins in the fourth grade class, here they can be seen sitting next to Sherri and Terri

Gaylord Stemple and his evil twin Zacariah Stemple

Jerry and Larry Mackleberry, twins and brothers to Sherri and Terri

Kang and Kodos

Lalique and Monique Bouvier

Mary-Kate and Ashley Olsen, a reference to the real life twins

The Mirror Maidens, Sherri and Terri’s superhero alter-egos

Superintendant, Gary Chalmers and Police Superintendant Chalmers (who’s only appearance was in Family Guy)

Sherri and Terri’s children (all unnamed) 

Jitney and Whitney Spuckler may not be twins but both have on one shoe, mirroring one another 

Harvey Raymondo “The Great Raymondo” who had a twin brother (unnamed), he is also based off a real person

Tweedle-dee and Tweedle-dum, a reference to the characters from Alice in Wonderland

The Wizard Twins

Yellow Weasel and Black Weasel, Nelson’s two cronies who apparently aren’t twins but look alike and have the same last name?

The McGuire Twins 

Also this

In the episode Homer’s Night Out, the singer sings this line: “and every girl a twin”. In the same scene, Mr. Burns and Smithers can be seen on a date with twins.

[letterboxd]

Best of SXSW 2021.

From properly good Covid comedies to an epic folk-horror doc and an Indigenous feminist Western, the Letterboxd Festiville team reveals their ten best of SXSW Online.

We dug out old lanyards to wear around the house, and imagined ourselves queuing up the block from The Ritz (RIP). We dialled into screenings and panels, and did our level best to channel that manic “South By” energy from our living rooms.

The SXSW festival atmosphere was muted, and that’s to be expected. But the films themselves? Gems, so many gems, whether shot in a fortnight on the smell of an oily stimulus check, or painstakingly rotoscoped over seven years.

When we asked SXSW Film director Janet Pierson what she and her team were looking for this year, she told us: “We’re always looking for films that do a lot with little, that are ingenious, and pure talent, and discovery, and being surprised. We’re just looking for really good stories with good emotional resonance.” If there was one common denominator we noticed across this year’s SXSW picks, it was a smart, tender injection of comedy into stories about trauma, grief, unwanted pregnancy, chronic health conditions, homelessness, homophobia and, yes, Covid.

It’s hard to pick favorites, but here are the ten SXSW features and two short films we haven’t stopped thinking about, in no particular order.

Recovery Directed by Mallory Everton and Stephen Meek, written by Everton and Whitney Call

“Covid 19 is in charge now” might be the most hauntingly funny line in a SXSW film. In Recovery, two sisters set out on a haywire road trip to rescue their grandmother from her nursing home in the wake of a severe Covid 19 outbreak. There’s no random villain or threat, because isn’t being forced to exist during a pandemic enough of a threat in itself? If ever we were worried about “Covid comedies”, SXSW managed to flush out the good ones. (Read about the Festiville team’s other favorite Covid-inflected comedies, including an interview with the directors of I’m Fine (Thanks for Asking).)

Alex Marzona praises the “off-the-charts chemistry” between leads Mallory Everton and Whitney Call. Best friends since they were nine, the pair also wrote the film, with Everton co-directing with Stephen Meek. Every laugh comes from your gut and feels like something only the cast and crew would usually be privy to. “You can tell a lot of the content is improvised, which just attests to their talent,” writes Emma. Recovery doesn’t make you laugh awkwardly about how awful the last year has been—rather, it reminds you that even in such times there are still laughs to be had, trips to be taken, family worth uprooting everything for. Just make sure you’ve packed enough wet wipes for the road, and think long and hard about who should babysit your mice. —EK

The Spine of Night Written and directed by Morgan Galen King and Philip Gelatt

Don’t get too attached to any characters from its star-studded cast—nobody is safe (or fully-clothed) in The Spine of Night’s raw, ultra-violent and cynical world. Conjured over the last seven years, directors Philip Gelatt and Morgan Galen King’s rotoscoped epic recaptures the dazzling imagination and scope of their influences Ralph Bakshi and Heavy Metal. Approaching an anthology-style structure to explore how ‘absolute power corrupts absolutely’—a proverb more potent now than when Gelatt and King began their project—the film packs a franchise’s worth of ideas in its 90-minute runtime. Though the storytelling justifiably proves itself overly dense for some, it will find the audience it’s after, as other Letterboxd members have declared it “a rare treat” and “a breath of fresh air in the feature-length animation scene”. For sure, The Spine of Night can join Sundance premieres Flee and Cryptozoo in what’s already a compelling year for unique two-dimensional animation. —JM

Kambole Campbell caught up with Gelatt and King (who are also Letterboxd members!) during SXSW to talk about animation inspirations and rotoscoping techniques.

The Drover’s Wife: The Legend of Molly Johnson Written and directed by Leah Purcell

Snakes, steers and scoundrels beware! Writer-director-star Leah Purcell ably repurposes the Western genre for Aboriginal and female voices in The Drover’s Wife. Molly Johnson is a crack-shot anti-heroine for the ages, in this decolonized reimagining of a classic 1892 short story by Henry Lawson. And by reimagining, we mean a seismic shift in the narrative: Purcell has fleshed out a full story of a mother-of-four, pregnant with her fifth, a missing husband, predatory neighbors, a mysterious runaway and a young English couple on different paths to progress in this remote Southern land. Purcell first adapted this story for the stage, then as published fiction; she rightly takes the leading role in the screen version, too.

As a debut feature director, Purcell (Goa-Gunggari-Wakka Wakka Murri) already has a firm grip on the macabre and the menacing, not shying away from violence, but making very careful decisions about what needs to be depicted, given all that Molly Johnson and her family are subjected to. She also sneaks in mystic touches, and a hint of romance (local heartthrob Rob Collins can take us on a walk to where the Snowy widens to see blooming wildflowers anytime). Judging by early Letterboxd reviews, it’s not for everyone, but this is Australian colonization through an Indigenous feminist’s eyes, with a fierce, intersectional pay-off. “Extremely similar to a vast majority of the issues and themes explored in The Nightingale,” writes Claira. “I’m slowly realizing that my favorite type of Westerns are Australian.” —LK, GG

Swan Song Written and directed by Todd Stephens

Udo Kier is often the bridesmaid, rarely the bride. Now, after a lifetime of supporting roles ranging from vampires and villains to art-house muse, he finally gets to shine center-stage in Swan Song. Kier dazzles as a coiffure soothsayer in this lyrical pageant to the passage of queer times in backwater Sandusky, Ohio. “He is absolutely wonderful here,” writes Adrianna, “digging deep and pulling out a mesmerizing, deeply affecting and emotionally textured performance, proving that he’s an actor with much more range than people give him credit for.”

A strong supporting cast all have melancholy moments to shine, with Linda Evans (Dynasty), Michael Urie (Ugly Betty) and Jennifer Coolidge (Legally Blonde) along for the stroll. Surreal camp touches add joy (that chandelier, the needle drop!) but by the end, the tears roll (both of joy and sadness). Writer-director Todd Stephens ties up his Sandusky trilogy in this hometown homage, a career peak for both him and Kier. Robert Daniels puts it well, writing that Swan Song is “campy as hell, but it’s also a heartfelt LGBTQ story about lost lovers and friends, vibrant memories and the final passage of a colorful life.” —LK

Leo Koziol spoke with Todd Stephens and Udo Kier during SXSW about Grace Jones, David Bowie and dancing with yourself.

Islands Written and directed by Martin Edralin

Islands is a Mike Leigh-esque story that presents a Canadian Filipino immigrant family full of quirk and character, centered around Joshua, a reticent 50-year-old homebody son. The story drifts in and out of a deep well of sadness. Moments of lightness and familial love make the journey worthwhile. “A film so Filipino a main plot device is line-dancing,” writes Karl. “Islands is an incredibly empathetic film about what it’s like to feel unmoored from comfort. It’s distinctly Filipino and deals with the psychology of Asian culture in a way that feels both profound and oddly comforting.” In a year in which we’ve all been forced to physically slow down, Islands “shows us how slow life can be,” writes Justin, “and how important it is to be okay with that.” Rogelio Balagtas’s performance as Joshua—a first-time leading role—won him the SXSW Grand Jury Award for Breakthrough Performance. —LK

Ninjababy Directed by Yngvild Sve Flikke, written by Flikke with Johan Fasting and Inga H. Sætre

Ninjababy is as ridiculous as its title. When 23-year-old Rakel finds herself accidentally pregnant, scheduling an abortion is a no-brainer. But she’s way too far along, she’s informed, so she’s going to have to have the baby. The ensuing meltdown might have been heartbreaking if the film wasn’t so damn funny. Ninjababy draws on the comforting and familiar (“Lizzie McGuire if she was a pregnant young adult,” writes Nick), while mixing shock with originality (Erica Richards notices “a few aggressive and vulgar moments [but] somehow none of it seemed misplaced”).

An animated fetus in the style of Rakel’s own drawings appears to beg and shame Rakel into motherhood while she fights to hold onto her confidence that not wanting to be a mother doesn’t make her a bad person. Ninjababy’s greatest feat is its willingness to delve into that complication: yes, it’s righteous and feminist and 21st-century to claim your own body and life, but that doesn’t mean it’s easy to turn away from something growing inside of you. It’s a comedy about shame, art, finding care in unlikely places—and there’s something in it for the gents, too. The titular ninjababy wouldn’t leave Rakel alone, and it’s unlikely to leave you either. Winner of the SXSW Global Audience Award. —SH

The Fallout Written and directed by Megan Park

Canadian actress Megan Park brought the youthful wisdom of her days on the teen drama series The Secret Life of the American Teenager to her first project behind the camera, and it paid off. Following the scattered after-effects of a school shooting, The Fallout may be the most acute, empathetic depiction of childhood trauma on screen in recent memory. “It sneaks up on you with its honesty and how it spends time with its lead, carried so beautifully by Jenna Ortega. Even the more conventional moments are poignant because of context,” writes Kevin L. Lee. Much of that “sneaky” honesty emerges as humor—despite the heavy premise, moments of hilarity hang on the edges of almost every scene. And Ortega’s portrayal of sweet-but-angsty Vada brings self-awareness to that humor, like when Vada’s avoidant, inappropriate jokes with her therapist reveal her desperation, but they garner genuine laughs nonetheless.

In this debut, Park shows an unmatched understanding of non-linear ways that young people process their pain. Sometimes kids try drugs! Sometimes they scream at their parents! But more often than not, they really do know what they want, who loves them, and how much time they need to grieve (see also: Jessie Barr’s Sophie Jones, starring her cousin Jessica Barr, out now on VOD and in theaters). The Fallout forsakes melodrama to embrace confusion, ambiguity and joy. Winner of both the SXSW Grand Jury and Audience Narrative Feature Awards, and the Brightcove Illumination Award. —SH

Ludi Directed by Edson Jean, written by Jean and Joshua Jean-Baptiste

When Ludi begins, it’s quiet and dreamy. The film’s opening moments conjure the simple pleasures of the titular character’s Haitian heritage: the music, the colors, the people. Ludi (Shein Monpremier) smiles to herself as she starts her morning with a tape recording her cousin mailed from Haiti to Miami, and listens as her family members laugh through their troubles before recording an upbeat tape of her own. But that’s where the dreaminess ends—Ludi is an overworked, underpaid nurse picking up every shift she possibly can in order to send money home. Writer-director Edson Jean fixates on the pains and consequences of Ludi’s relentless determination, which comes to a head when she moonlights as a private nurse for an old man who doesn’t want her there.

Ashton Kinley notes how the film “doesn’t overly dramatize or pull at false emotional strings to make its weight felt. The second half of the feature really allows all of that to shine, as the film becomes a tender and empathetic two-hander.” George’s (Alan Myles Heyman) resentment of his own aging body steps in as Ludi’s antagonist. Jean throws together jarring contrasts: George throwing Ludi out of the bathroom, followed by Ludi’s memories of home, followed by another lashing out, followed by a shared prayer. The tension is unsustainable. By interspersing the back-breaking predicament of a working-class immigrant with the sights and sounds of the Caribbean, Ludi elegantly, painfully reveals what the cost of a dream can be. —SH

Woodlands Dark and Days Bewitched: A History of Folk Horror Written and directed by Kier-La Janisse

Building on the folk horror resurgence of films like The Witch and Midsommar, Kier-La Janisse’s 193-minute documentary Woodlands Dark and Days Bewitched is a colossal, staggering undertaking that should school even the most seasoned of horror buffs. “Thorough is an understatement,” says Claira.

Combining a historian’s studied, holistic patience with a cinephile’s rabid, insatiable thirst, the film, through the course of six chapters, broadens textbook British definitions, draws trenchant socio-political and thematic connections, debunks myths and transports viewers to far-flung parts of the globe in a way that almost feels anthropological. As Jordan writes, “Three hours later and my mind is racing between philosophical questions about the state of hauntology we generationally entrap ourselves in, wanting to buy every single one of the 100+ films referenced here, and being just a bit in awe of Janisse’s truly breathless work.” An encyclopedic forest worth losing yourself in—get ready for those watchlists to balloon. Winner of the SXSW Midnighters Audience Award. —AY

Introducing, Selma Blair Directed by Rachel Fleit

There’ll likely be some level of hype when this intimate collaboration between actress Selma Blair and filmmaker Rachel Fleit comes out later in the year on Discovery+, and that’s okay, because that is Blair’s intention in sharing the details of her stem-cell transplant for multiple sclerosis. There’d be little point in going there if you are not prepared to really go there, and Introducing, Selma Blair is a tics-and-all journey not just into what life is like with a chronic condition, a young son, and a career that relies on one’s ability to keep a straight face. It’s also an examination of the scar tissue of childhood, the things we are told by our parents, the ideas we come to believe about ourselves. “I almost felt like I shouldn’t have such intimate access to some of the footage in this documentary,” writes Andy Yen. “Bravo to Selma for allowing the filmmakers to show some truly raw and soul-bearing videos about her battle with multiple sclerosis that make us feel as if we are as close to her as family.” —GG

Femme Directed by Sam H. Freeman and Ng Choon Ping

I May Destroy You fans, rejoice: Paapa Essiedu, who played Arabella’s fascinating best friend Kwame, takes center stage in Sam H. Freeman and Ng Choon Ping’s intoxicating short film Femme. It’s a simple premise—Jordan, a femme gay man, follows his drug dealer (Harris Dickinson, mastering the sexually repressed brusque young man like no one else) home to pick up some goods on a night out. Except, of course, it’s not that simple. The co-directors build a world of danger, tension and electricity, with lusciously lensed scenes that lose focus as the threat rises. Frankie calls it “hypnotizing and brutal and gorgeous” and we couldn’t agree more. A crime thriller wrestling with hyper-masculinity seen through the eyes of an LGBTQ+ character, with a sucker-punch ending to boot, the world needs more than twenty minutes of this story. —EK

Play It Safe Directed by Mitch Kalisa

If you (unwisely) thought that the vulnerable, progressive environment of drama school would be a safe space for Black students, Play It Safe confirms that even a liberal bunch of actors (and their teacher) are capable of being blind to their own egregiously racist microagressions. Mitch Kalisa’s excellent short film explores structural prejudice head-on, in an electric acting exercise that rests on where the kinetic, gritty 16mm camera is pointing at every pivotal turn. At first, we’re with Black drama student Jonathan Ajayi as he receives the assignment; then we are with the rest of the class, exactly where we need to be. “Literally in your face and absolutely breathtaking,” writes Nia. A deserving winner of the SXSW Grand Jury and Audience narrative shorts prizes. —GG

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