#budget 2022 date

[expatesque]

How do you feel about splitting the bill on a date?

When you're in the early phases with someone, I think it's right that whoever did the asking and choosing of the venue pays. Here in the UK, it's generally polite to offer to split but I think that the date organizer should refuse.

[reasonsforhope]

Note: Reasons to Be Cheerful has had weirdly huge formatting issues for the past six or so months, so if that version is a mess, this link should work better.

"Florida Power & Light Company (FPL), the Sunshine State’s largest power utility, employs all the people you might expect: electricians, lineworkers, mechanical engineers — and a few you might not. For over 40 years, the company has kept a team of wildlife biologists on staff. Their task? Monitoring the giant carnivorous reptiles that reside in one of the state’s nuclear power plants. 

Saving the American Crocodile

What sounds like a low-budget creature feature is actually a wildly successful conservation story. It goes like this: In 1975, the shy and reclusive American crocodile was facing extinction. Over-hunting and habitat decline caused by encroaching development had pushed its numbers to a record low. By 1975, when it was listed as endangered under the Endangered Species Act, there were only 200 to 300 left. 

Three years later, in 1978, workers at the Turkey Point nuclear power plant in Homestead, Florida happened upon something that must have made them gasp: a crocodile nest along one of the plant’s 5,900-acre “cooling canals.” Rather than drive the crocs away — perhaps the easiest solution — FPL hired a team of biologists and implemented a Crocodile Management Plan. Its goal was unconventional: provide a suitable habitat for the crocs within the workings of the nuclear power plant, allowing both to coexist.  

Over the course of the next 30 years, FPL’s wildlife biologists monitored nests, tagged hatchlings and generally created a hospitable environment for the reptiles. As it turned out, the plant’s cooling canals provided an ideal habitat: drained earth that never floods on which to lay eggs directly adjacent to water. Over the years, more and more crocs made the cooling canals home. By 1985, the nests at Turkey Point were responsible for 10 percent of American crocodile hatchlings in South Florida. In 2007, the U.S. Fish and Wildlife Service downgraded the American crocodile’s status from endangered to threatened, singling out FPL for its efforts. 

The program continues to this day. To date, biologists have tagged some 7,000 babies born at the plant. In 2021, there were a record-setting 565 crocodile hatchlings at the Turkey Point facility. 

"Reconciliation Ecology"

Turkey Point’s efforts are an example of what is known in the conservation world as “reconciliation ecology.” Rather than create separate areas where nature or animals can thrive in isolation from humans, reconciliation ecology suggests that we can blend the rich natural world with the world of human activity. Michael Rosenzweig, an emeritus professor of ecology and evolutionary biology at the University of Arizona, was a leading force in establishing this concept. The author of Win-Win Ecology: How the Earth’s Species can Survive in the Midst of Human Enterprise, Rosenzweig has pointed out that although human encroachment has typically been considered a threat to biodiversity, the notion that the world must be either “holy” or “profane,” ecologically speaking, is simply not true.  

“In addition to its primary value as a conservation tool, reconciliation ecology offers a valuable social byproduct,” writes Rosenzweig in his first chapter. “It promises to reduce the endless bickering and legal wrangling that characterize environmental issues today.”

-via Reasons to Be Cheerful, May 5, 2022. Article continues below. All headings added by me for added readability.

Dr. Madhusudan Katti, an associate professor in the Department of Forestry and Environmental Resources at North Carolina State University, was inspired by Rosenzweig when he did his postdoc at Arizona State. Katti has now been in the field of reconciliation ecology for two decades and teaches classes on the subject. “To me it’s finding solutions to reconciling human development with biodiversity conservation,” Katti says.

This common ground between development and conservation can be consciously planned, like FPL managing a crocodile habitat at a nuclear power plant or the state-sponsored vertical gardens and commercial farms on high-rise buildings in Singapore. Other examples include the restoration of the coral reef around an undersea restaurant in Eilat, Israel, or recent legislation in New York City requiring patterned glass on high-rise buildings, making windows more visible to migratory birds. Other planned examples of reconciliation ecology can be more individually scaled: a rooftop garden in an urban setting, modifying your garden to earn a “backyard bird habitat” certification from the Audubon Society, or even just mowing your lawn less often...

Reconciliation Ecology: Nature's Already Doing It Without Us

But there are countless examples of “accidental” incidents of reconciliation ecology, as well. One of Katti’s favorites is the kit fox of California’s San Joaquin Valley. “The kit fox was one of the very first species listed on the Endangered Species Act,” Katti says. Its decline was caused by habitat loss through agricultural and industrial development, as well as the extermination of the gray wolf population, which led to an increase in coyotes. So kit foxes adapted and moved to new habitats. One of these was the city of Bakersfield, California.

“Bakersfield, surrounded by oil pumps, would be the last place you’d expect to find an endangered species,” Katti says. But researchers think kit foxes have migrated to Bakersfield because they actually have more protection there from predators like coyotes and bobcats. “The kit foxes have figured out that if they can tolerate the human disturbance and live with people, then they are safer from all these other predators,” he says. 

Living in the city has led to some interesting behavioral changes. In the wild, for instance, a female kit fox gives birth to her young and raises them by herself in a den. But in the city, researchers have observed multiple females raising their litters together in the same den. “It’s like a form of cooperative breeding,” Katti says. “That wouldn’t happen in the wild.” ...

The Big Picture: How We Think about Conservation

Reconciliation Ecology isn’t just we humans welcoming animals like crocodiles and foxes into our environments, though. It’s also living with nature in a way that most Western societies haven’t done since the Enlightenment. “In recent years, there’s been a recognition that the ‘fortress conservation’ model — keeping nature separated from humans and not thinking of or valuing human-inhabited landscapes — those ideas are outdated,” says Katti.

In fact, in Katti’s classes on reconciliation ecology, he embraces the notion of reconnecting people with their land if they have been unjustly separated from it. “The term reconciliation also applies to all the colonial legacies where both nature and people have been harmed,” Katti says. “For Indigenous communities, the harm done to ecosystems, it’s happened together. So you can talk about addressing both. That’s where a lot of my thinking is at the moment.” 

A hopeful version of this sort of reconciliation is happening in California where colleagues of Katti’s who are tribal members are re-introducing “tribal burns” in some areas. Controlled burns have been a part of many Indigenous cultures for millenia, both as a way to prevent devastating forest fires, but also to encourage the growth of certain plants like hazel that are used for basket-weaving and other crafts. 

“The notion that people don’t belong there and ‘let nature take care of itself’ doesn’t really work,” Katti says. “That’s the legacy of Western European Enlightenment thinking — a divide between human and nature. That is a real faulty view of nature. People have been part of the ecosystem forever.”

-via Reasons to Be Cheerful, May 5, 2022

[hermajestyimher]

This Is How We Will Own 2023:

We're less than a month away from the New Year, and as such, it is important that we begin to set the foundations and plans we have to not only succeed, but make 2023 a memorable year.

Regardless of how 2022 went for you, regardless of how many goals you were able to achieve, a new year marks a new beginning. Do not beat yourself over how things went, focus on how you can improve them moving forward.

In 2023 we're:

Spending less time being passive scrollers online. The pandemic is over, the world is back in action and so must we. It's time to stop letting our minds be consumed by the opinions of thousands of people on the internet. More often than not, the things we read online come from the psyche of mentally unwell individuals, and given social media's tendency to prompt out the voices of the most unhinged, it gives people that shouldn't have a platform a false sense of authority. In 2023 we're getting off the grid as much as we can and reconnecting with the real world. We will not allow this online façade to swallow us into its void any longer.

Spending more time learning and engaging in high-end activities and hobbies that can elevate our social circle and our taste. Things like polo matches, pilates, ballet, opera, piano classes, poetry, political forums, martial arts, and high-intensity sports, among other things. It is crucial to cultivate a persona that engages in a variety of fulfilling activities that can bring us joy but also help us grow as individuals.

Prioritizing our health and fitness. No more excuses, it's time to cut down on added sugar and refined carbs, time to eat more nutrient-dense whole foods, drink plenty of water daily, invest in vitamin injections every other month, take supplements to improve our body's collagen production, and overcome feelings of laziness by pushing ourselves through fitness goals. 2023 we will make of the gym our sanctuary.

Living below our budget and investing as much as we can. If you haven't already, get a financial advisor, develop long and short-term financial goals and get organized with your income. It doesn't matter if in the past you've felt like your financial habits have not been the most adequate, it's never too late to take control of them and be responsible. We owe to ourselves to spend wisely to have the peace of mind financial security brings. Never go broke trying to impress others.

We're no longer entertaining inadequate men. I must admit I'm guilty of this myself. After years of not dating, getting back into the dating scene has felt extremely disappointing and tiring. Most prospects are simply not up to par with the standards I have and what I want out of my life partner. Sometimes we allow ourselves to become desperate to build these types of romantic relationships that we begin to overlook the things that we really want deep down. In 2023, we're refocusing our attention on living our best lives and being as active as possible in real-life events as touched upon previously, and trust that the right dating prospects will present themselves when we least expect. We attract, we don't chase.

Finally, we're overcoming negative self-talk patterns that hinder our growth. We're investing in therapy, we're unlearning the limiting beliefs that keep us in bondage to people, routines, and views of the world that are not good for us. We have to put an end to the insidious lie of the scarcity mindset, overcome past traumas, and look forward to the good things that are yet to come.

There are many more things I could add to this list, but for now, these are the things I and I know many of you will find helpful on improving on for the year to come. These lists can come out as intimidating to some people, but we have to remember that we are not expected to become the ideal version of ourselves overnight. Growth is a marathon, not a sprint, and it requires consistency. Each day that you wake up and choose to do one or two things differently you're making stride towards that better you. No improvement is ever too little.

Let's make 2023 a memorable year, and every year afterwards.

Daphne.

[wlwcatalogue]

Chinese GL Webseries & Shorts for the Wuxia-Uninclined

Have you ever wanted to venture into the world of Chinese GL webseries and short films, only to find yourself at a loss about where to begin, or intimidated by the unfamiliar tropes and terms of the wuxia genre?

Well, worry no more! Here's a selection of non-wuxia webseries and short films curated by yours truly. Now you too can enjoy the lavish costumes and location shoots of these Chinese productions, so rarely seen in F/F works outside of feature films and the occasional TV series~

By the way, these are all translated and subbed by the inimitable Douqi (@douqi7s), whose immense contribution to the English-language baihe fandom is surely in breach of anti-monopoly laws. Offer up your thanks at her Tumblr and Twitter!

At-a-glance list

Webseries:

Ye-Mu Season 2 (1 hr 20m total, 2023) - standalone

The Vampires (41m total, 2022)

Ye-Mu Season 1 (27m total, 2022) - standalone

The Lost World (1hr 5m total, 2023)

Short films - order corresponding to the pictures above:

A Tale of Yearning (5 mins, 2022)

"She Brought Colour Into My World" (2.5 mins, 2023)

"I'm Her Weapon" (3 mins, 2022)

Miss Shen and the Woman Warlord (6 mins, 2023)

Women's Script (5 mins, 2023)

The Caged Canary (5 mins, 2023)

The Beauty of the Law (6 mins, 2023)

Flowers Bloom; Flowers Wither (9 mins, 2022)

Commentary under the cut!

FYI, I've opted to link directly to the subtitled versions since they're probably more difficult to find than regular anime, TV series, movies etc. If a link is broken, please refer to Douqi's blog directly.

Important note for the uninitiated:

It’s a bit difficult to talk about canonicity in relation to live-action works made in the PRC, as things which would normally be used as evidence of canonicity all fall under the censorship regulations— explicit references to romantic relationships or queerness, declarations of love, kissing etc. are all off the table. So while these may not look canon in the most traditional sense, they are intended to be read as such and should certainly not be dismissed as queerbaiting or yuribait. Also, the creators can get very imaginative, so this is less of a problem than you may think – see the entries on Ye-Mu Season 2 and The Lost World in particular!

1. Ye-Mu Season 2 / 叶穆 2 (32 episodes / 1hr 20m total, 2023, dir. Zhang Zhiwei) - MyDramaList

(Note: Despite the name, Ye-Mu Season 2 is completely unrelated to the first season; the only thing the two share is the cast, crew, and focus on Penthouse-style melodrama.)

Determined to take revenge for her mother's death, Xu Baiqing (Sheng Wei) marries a wealthy and much older businessman in the hope of finding evidence to put him behind bars. But first she must assuage the suspicions of his cheerily hostile second daughter, moody youngest son, and estranged eldest daughter (Ye-Mu Zhixia, played by Wang Laoji), the latter of whom Xu Baiqing dated in university and who is currently seething at the sight of her former girlfriend marrying her father...

If you want to get a sense of the potential breadth of Chinese GL webseries, this is a pretty good place to start. It does a decent job of matching the tone and presentation of a melodrama you might catch on TV (and in fact looks higher-budget than some I can think of), while committing to something that can’t be done on TV yet— namely, featuring an F/F exes-to-stepmother storyline and delivering on the drama inherent in such a premise. Of particular note is how the framing and behaviour of Ye-Mu Zhixia is very much consistent with that of a male romantic lead; thanks to some clever writing, it’s basically impossible to deny the nature of her relationship with the main character. They don’t even lean on the plausible deniability afforded by the label of “friendship”— in fact, in an early scene she is incensed when the protagonist refers to her as “[her] only friend”. There are a few caveats – the main character ends up in a lot of scrapes that her ex-girlfriend has to save her from, the reveals are often rather unsurprising, and the story shifts more to a mystery focus around halfway – but it’s still worth checking out if a Korean-style melodrama with an F/F take on a romantic storyline sounds appealing.

 (CW: violence, murder, attempted sexual assault)

Note: See The Lost World (below), from the same creative team, for an even more impressive example of Chinese GL pushing the limits of censorship.

Links: MEGA / Internet Archive (compilation)

2. The Vampires / 吸血鬼鬼盲盒 (7 episodes / 41m total, 2022, dir. Zhang Zhiwei) - MyDramaList

(Note: Spoilers for the first 15 minutes or so, because otherwise the summary would be “They end up locked inside with the monsters on board”, which wouldn’t tell you much more than the title already does)

Every night, Tianyue (Ye Miao/夜喵) has been having dreams about the mysterious cruise ship docked at the pier. Convinced that there is treasure hidden inside, she and her exorcist-cultivator girlfriend Xiao Ling (Wei Miao/微渺) sneak on board only to find that they are trapped there until the sun comes up. Things don’t seem too bad at first: although they run into two vampires – the cute, cheeky Xingming (Yang Fuyu) and her elegant mistress Su Tanya (Sheng Wei) – they are able to call a truce, on the condition that the humans help search the ship for the latter’s beloved (Fu Cha, played by Wang Laoji). But when Fu Cha wakes up without her memories, it is clear that something is terribly wrong, and that the ship and its inhabitants harbour more secrets than expected.

For a webseries, The Vampires takes a while to get started— it’s a bit difficult to tell what kind of story or indeed what kind of tone it’s going for just based on the somewhat campy and comedic first section. But after that wobbly beginning, it manages to pull itself together to tell a compelling – and sometimes genuinely tense – tale about a motley band of humans and vampires, and the truths they have to face together. While the ending is no happily-ever-after, I found it satisfying and hopeful, and surprisingly affecting. Also, a bunch of the characters have real polyam energy, and this is reflected in the narrative beyond mere flirting!

(CW: abusive parents)

Links - MEGA / Internet Archive (compilation) / YouTube (compilation)

3. Ye-Mu Season 1 / 叶穆 (12 episodes / 27m total, 2022, dir. Zhang Zhiwei) - MyDramaList

(Note: Ye-Mu Seasons 1 and 2 are standalone stories; each season is entirely self-contained and the second season is not a continuation of the first.)

The head of the Ye-Mu family has died, leaving the next generation to squabble over the inheritance. It's a web of secrets, lies, and hidden resentments, as the characters dig out old grievances and fresh accusations in a desperate attempt to one-up each other. They're tangled up together to an almost incestuous degree, and indeed, the F/F subtext here is the ambiguous relationship between eldest daughter Ye-Mu Nanzhu (Sheng Wei) and second daughter Ye-Mu Nanmo (Wang Laoji) (rest assured that they are at least not biologically related).

Those who prefer darker stories and don't mind the pseudo-incest or other content warnings will find a melodrama which makes good use of its short runtime to deliver on twists, turns, and an explosive - if tragic - conclusion. That being said, the story is about the family drama in general, so do note that while the relationship between Nanzhu and Nanmo is narratively important, it is not fleshed out in great detail and certainly not the focus of the series.

(CW: suicide, ableist trope (spoiler – disabled character turns out to have been faking it), ableist language)

Links - MEGA / Internet Archive (compilation)

4. The Lost World / 夏夜知道风的甜 (1hr 5m total, 2023, dir. Zhang Zhiwei) - MyDramaList

(Note: Spoilers for the purpose of flagging triggering content, as it’s particularly easy to trip into for this show. Also, some vague spoilers for later episodes in order to highlight in order to highlight the themes etc.)

This webseries feels like two shows smushed into one: apart from the very beginning, the first half is a gritty, bullying-focused take on university life, while the second is a true-blue romantic comedy (aside from one blip – see the note below for details). But even if you’re wary of the bullying, I would still recommend watching the back half – which is basically standalone – as it’s a very funny and heartfelt story about two childhood friends finally getting their act together. Without further ado, here’s two blurbs!

From episode 1 onwards: After saving a classmate from the class bully, popular college student Xia Huaichu (Yang Fuyu) is subjected to a lengthy harassment campaign by the latter. She is suddenly faced with having to protect her reputation in the face of false allegations and fake nudes– despite the fact that all she wants to do is focus on reconciling with another classmate, a high school best friend whom she had previously lost touch with (Mu Qingfeng, played by Wang Laoji). From episode 14 onwards: Childhood friends Xia Huaichu (Yang Fuyu) and Mu Qingfeng (Wang Laoji) are caught in a weird gay purgatory where each has feelings for the other, and suspects that the other has feelings for them too. But both are exceedingly stubborn and want the other one to take the initiative in confessing, leading to ridiculous displays of I-don’t-care-isms and lots and lots of UST. (Does anybody use that term anymore??)

As you may have guessed, I’m not too keen on the first part of this show, nor the decidedly unnecessary attempted rape segment, though that’s partly on me for not checking the content warnings beforehand. And yet I’m very glad to have stuck with it, because the second half is not only hilarious, but also a masterclass in censorship-dodging that needs to be seen to be believed. Not just in terms of the suggestive scenes, of which there are many, either— the story is literally about two women starting a relationship and having to reckon with parental disapproval, homophobia, and other obstacles which platonic friends wouldn’t have to deal with. I honestly don’t know how this ever got approved, and can only applaud. Bravo.

Note: For those who want to avoid the triggering content, I’d recommend starting at episode 14, but make sure to skip episodes 19 and 20 as there is a foiled rape attempt.

(CW for entire series: bullying (incl. violence, fake nudes), sexual harassment, attempted sexual assault, fatphobic language, homophobia

CW for episodes 14-24: attempted sexual assault in episodes 19-20, homophobia)

Links - MEGA / Dropbox

SHORT FILMS

Quick note: Click on the English titles for the subtitled versions, and the Chinese titles (which are really just the video titles) for the originals. And yes, although the majority of these are shampoo commercials, they really do hold up as short films in their own right. Give them a try, you might be surprised!

A Tale of Yearning / 一见误终生，不见终生误 (5 mins, 2022, dir. Liu Yun Rui/流云蕊) – A bittersweet story about a literature-minded young woman (Sheng Wei) and a Chinese opera performer (Ai Ye) who bond over their love of fiction, only to be torn apart by harsh reality. Tragic ending, but I liked the more literary turn of the dialogue. Shampoo ad. (CW: homophobia)

“She Brought Colour Into My World” / “她走后，我的世界又失去了颜色” (2.5 mins, 2023, dir. Zou Hui Qu Le/走回去了) – A very restrained short film (actually, more like a music video) set during the late Qing era, wherein a sheltered young woman (Xiao Yu Za/小宇咂) falls for her female neighbour, recently returned from studying abroad (Sheng Wei). Lovely use of music and visuals to create a dreamlike atmosphere. Tragic ending. Not a shampoo ad.

“I’m Her Weapon” / 我是你手里的一把刀 (3 mins, 2022, dir. Liu Yun Rui/流云蕊) – A moody, interior piece about an assassin (Ai Ye) who yearns for some sign of affection from her handler (Sheng Wei), only to be left devastated by her new assignment. Surprisingly not a shampoo ad.

Miss Shen and the Woman Warlord / 我们是孤独行走的钟，但也要做敲响希望的钟 (6 mins, 2023, dir. Liu Yun Rui/流云蕊) – I’d like to describe this as being inspired by the story of Mai Jia’s novel The Message and the aesthetics of Kawashima Yoshiko (1990), but most Tumblr users would probably find those references deeply unhelpful. Basically, a female spy (Sheng Wei) disguises herself as a male soldier and infiltrates the mansion of a Republican warlord. There, she meets the warlord’s daughter (Ai Ye), who quickly realises that there is more to the promising young officer than meets the eye. Shampoo ad.

Women’s Script / 纵使“科考”无女子，无碍红袖书香，星辰有光 (5 mins, 2023, dir. Liu Yun Rui/流云蕊) – While sailing down a river, a girl (Zhi Chun He/至春禾) catches sight of a woman writing poetry on the riverbank (Sheng Wei), and is fascinated by both her beauty and her flaunting of the rules against women’s literacy. Shampoo ad. (CW: domestic violence)

The Caged Canary / 如果这是一场骗局，那我也只愿意输给你 (5 mins, 2023, dir. Liu Yun Rui/流云蕊) – The protagonist (Ai Ye) is sent by her parents to beguile a wealthy young man into marriage, but ends up developing feelings for his modern-woman sister (Sheng Wei) instead. Shampoo ad. (CW: attempted sexual assault)

Flowers Bloom; Flowers Wither / 她们一个被铁链禁锢，一个被男装束缚，直到救赎彼此 (9 mins, 2022, dir. Qian Li Min/千里明) – Takes the romance between a cross-dressing noblewoman (Du Ruo/杜若) and her supposedly-mad stepmother (Rou Lian Cheng/肉脸橙) to tell a story about the restrictions placed on women in historical times, and how resistance, even when futile, can still have meaning. Tragic ending, obviously. Not a shampoo ad. (CW: domestic violence, misogyny, accidental misgendering, gender dysphoria)

[cbrownjc]

Hello :) I was wondering if we ever got confirmation about which books Rolin is interested in focusing this adaptation on? I know that they'll probably take elements from most (if not all) VC books, but if they're aiming at 7-8 seasons with some books taking multiple seasons to adapt, they're going to have to pick and choose which books to really dig into.

I was also thinking about production. I've seen people talk about how we'll need to wait another 1.5-2 years between seasons and I kinda doubt that? I feel like we'll start speeding things up and getting a new season every year, mostly because I just can't see them go for 12+ years of production on this show. Very few shows nowadays go more than 10 years, and if they really want to do 7-8 seasons I can't see how they'll manage that with 1.5 to 2 years in between each season. I understand they're in for the long haul with the Immortal Universe but...that's very long in the modern drama landscape.

Honestly I am mostly just hoping to get new seasons more frequently and also be able to see their full vision realized because the longer it goes on the higher the chance they'll run into issues like actor availability, leadership changes that could impact renewals, budget restrictions, etc. What do you think?

Hello!

Okay, first to answer the production question. Now, while many shows rarely go past 10 years wrt production of them, that is really dependent on their Season count. Game of Thrones, for example, only ran for 8 Seasons, and production only lasted 8 years as well.

The Walking Dead ran for 11 Seasons and was produced over 12 years.

AMC has said in the past (or, at least, Rolin Jones has said that AMC has said) that they wanted 10 Seasons for IWTV. RJ, however, has been consistent in saying he has an 8 Season plan.

So whether the show continues on for at least 2 more years after Rolin's 8 Season plan is up in the air right now and we should just focus on, at most, getting 8 Seasons, Which yes, I think will take over the course of 8-9 years to film.

Because I think starting with Season 3, the wait and production times will decrease over time. Remember, the strikes threw a bit of a wrench into things. But what also did regarding Season 2 was that it's clear that Rolin and the writing staff didn't start actually writing Season 2 until AMC had officially greenlit Season 2 back in September of 2022. That is why shooting for Season 2 couldn't start in the fall of 2022, there were no scripts broken, let alone written yet!

And then, once the scripts were done, they still had to start pre-production stuff, such as location scouting, figuring out which sets needed to be built, etc.

So shooting for Season 2 could only start shooting when it did because it was the earliest they could get all that done once they were given a renewal notice.

I think things are very different when it comes to Season 3 because I think, even if the show hadn't already been quietly renewed for Season 3 before it was officially announced, RJ and the other writers were already breaking and writing the scripts for Season 3 starting either just before or while Season 2 was airing. And so given that writing time, plus the fact that they probably don't have to do as much location scouting (since many of those locations were already found in Season 2) pre-production will likely take less time.

I think filming will begin in late October, meaning we'd get an October 2025 release date. Which I think will be the standard release window going forward with each new season and why the wait will be another long one again, but that will also give the production staff and actors breathing room after they are done filming a season before going into the next one.

So for that reason, I can see production of the show lasting 9-10 years, but that is because of the extra 1/2 year gaps between the filming and airing of Season 2 and the one I feel we are going to get for Season 3.

As well as the fact that I think when they get to Queen of the Damned, that will be a true split-season like the one Breaking Bad got for its final season. That show had Season 5, Part 1, and Season 5, Part 2. Because even though this past season was called "Season 2" externally, you can see by the episode numbers that internally, what this really was was "Season 1, Part 2."

Anyway, as to the books being adapted -- and not just having elements taken from them -- Rolin has said for sure we are getting IWTV (which we just finished), The Vampire Lestat (Season 3), Queen of the Damned (which is where he spoke about it being so epic and grand a story that they will probably have to split the season in order to tell it all) and Tale of the Body Theif (which he confirmed after Season 2 was finished that they were beginning to already set up for). He also mentioned at Comic-Con in 2022 that Prince Lestat would be adapted.

Also, while RJ talked about the book The Vampire Armand being important, he's never said it would get its own separate adaptation, which honestly makes sense. Because of the way that book is told, you can just interweave elements of it when you want to focus on Armand's backstory, or even just do a stand-alone episode here and there dedicated to parts of it. It really isn't the kind of book you do a full season on IMO.

So yeah. The books that we know for sure are getting their own, full adaptations per RJ so far are IWTV, TVL, QotD, TotBT, and PL.

I can see them throwing elements of books like Memnoch, TVA, and Blood and Gold into it all, but I don't know if they'll get their own full-season adaptations. As I said, I don't think TVA will. And I don't think B&G will either, as I see it just like TVA -- you adapt elements of it during a season, maybe even full sections of it for a flashback episode or so during a season, but it doesn't get its own full stand-alone season.

The same goes for Merrick, since they already did Louis' suicide attempt and Louis seems to be moving forward from his despair and grief regarding Claudia -- so that even if Lestat did fall into his post-Memnoch coma in the show, I'm not sure this Louis would attempt to end his life again over that loss. (Even more so after this Louis also got that letter from Lestat in the past, telling Louis to please live on in the event of his death.)

I have no idea if they are seriously going to ever do Blackwood Farm or Blood Canticle. Neither book has ever been mentioned, even in passing. Plus, they kind of depend on what and where Mayfair Witches is at or has going on at the time and well, that show . . . 😅

Oh! And they might be looking to adapt the whole Prince Lestat trilogy, but I don't remember if RJ has talked about adapting the whole trilogy -- meaning the entirety of each book -- or just the full first book and then elements from the other two. (Because I do think it's clear that, if anything, we'll get the Loustat ballroom dance from Blood Communion in the final season of the show).

So yeah, I think that this is what we're looking at for the next few years, book adaptation-wise.

[dreamings-free]

It's not just the Black Keys. Why are so many big tours selling poorly? Stereogum | June 11, 2024 | by Zach Schonfeld

long (and US focused) but still quite interesting article on the current state of concert touring, why tours are getting cancelled or downsized, and what's up with ticket pricing. (my selected excerpts/highlights under the cut)

[excerpt, all highlights mine]

[Eric Renner Brown, a senior editor at Billboard] adds, “I do think [The Black Keys] are an artist that can fill those rooms still. I think the demand is there in terms of people who want to see Black Keys. But perhaps at that price point, the demand was not there.”

Ostensibly, agents and promoters should have access to data that can give them a better sense of demand. But they often place outsized importance on raw streaming numbers.

“The data is very confusing,” says the anonymous booking agent. “There’s a lot of passive listeners for data. You can have millions upon millions of streams, but that doesn’t mean it’s gonna turn into tickets. The opposite is, there are some artists who don’t have many streams at all and they can sell like 2,000, 3,000 tickets.”

[..]

It’s worth noting that the Black Keys have released four albums since returning from hiatus in 2019, and toured arenas as recently as 2022. This may be a case of oversaturating the market.

The band’s 2019 and 2022 arena runs weren’t exactly sold out. In between, the band left their longtime manager in 2021, signing with Irving Azoff and Steve Moir at Full Stop Management. Some sources speculate that Azoff, a former CEO of Ticketmaster, may have encouraged ambitious touring plans. On Thursday, Billboard reported that the group has now parted ways with Azoff and Moir. (The management company did not respond to a request for comment.)

“Essentially, you have some very big managers that are out of touch with the granular finesse and nuance of ticketing,” says another anonymous booking agent. “And they have these large expectations and they tell their agents what they want. And the agents are probably texting each other on the side, going, ‘This man is out of his fucking mind.’ But they do it anyway because, in the case of Black Keys, they’re not gonna challenge Irving Azoff.”

[..]

One contributing factor to instability in the touring industry is the rising cost of… well, everything. It’s part of why ticket prices are so high; it’s also part of the reason some acts are backing out of touring commitments.

Bands at all levels have been sounding the alarm about this for years. In 2022, for instance, Animal Collective canceled European tour dates and explained, “We simply could not make a budget for this tour that did not lose money even if everything went as well as it could.”

Industry insiders say that’s not uncommon. “Everything is ridiculously expensive,” says a tour manager who works with major acts and asked not to be named. “There’s not enough gear for everyone to share, so the vendors are having to pay high amounts for equipment. A single bus for a six-week tour can cost $100,000. Multiple that by multiple buses, and then trucks, and then crews are at a minimum, so they’re getting top rate right now because there’s not enough crews.”

COVID, of course, exacerbated this crunch. “What happened after the pandemic is, everyone was ready to tour at once,” the tour manager says. “There’s not enough gear to cover all of that. A lot of bands have had to cancel tours because they don’t have gear or they couldn’t afford the gear,” the tour manager continued. “I was on a tour with somebody last year where we had to book a private jet because there were no buses available. For the first week of the tour, we had to charter planes.”

Acts are thus incentivized to book bigger venues to recoup the costs of touring. The catch-22 is that bigger venues necessitate more elaborate stage production, which makes for a more expensive tour.

“There’s the expectation to have that production,” says the tour manager. “If people went back to having just two trusses of lights and a P.A. and no frills, it was just about the music, they can afford to tour. But everyone wants to see those flashing lights. Everyone wants to see that video.”

“So much of the economics of these big tours is completely invisible to fans and consumers,” says Kevin Erickson, director of Future of Music Coalition, a nonprofit advocacy group. “You can sell out a tour and come back in the red if there was a cost overrun or a miscalculation.”

For mid-level acts with sizable followings, these frustrations are compounded by a lack of suitable mid-sized venues.

“For a band that maybe has assessed its demand in the market to be in the 8K range or something for capacity, where are they going to go if that sort of venue doesn’t exist?” says Brown. “And if, say, the local theater that seats 3K or 4K can’t accommodate two or three nights, it can only put them for one night on the tour routing. That’s a real concern.”

[..]

At the end of the day, it all comes back to price. The average ticket price for one of the top 100 tours rose from $91.86 to $122.84 between 2019 and 2023. Concerts are too damn expensive, and there’s a growing sense of consumer frustration with shows that cost as much as airline tickets.

-> read the full article here on Stereogum.com

[ofthin]

NEAR THEM, THEIR SISTERS FOUR; THE GORGONS, WINGED WITH SNAKES FOR HAIR — HATRED FOR MORTAL MEN.

MEDUSA are a four member girl group consisting of members Choi Gain, Son Jiyeon, Yu Chaerin and Hirono Ikumi, better known by her stage name, Hero. The group was put together by Valentine Records in 2018, when fourteen trainees were selected from a pool of fifty to be sorted into three debut teams. Dubbed Debut Team B, the five girls to be selected for the girl group prepared alongside their to-be brother groups Tarot and Sour Candy for two years. Medusa were second to make their debut in late 2020, following several delays necessitated by the abrupt departure of former member Zhang Shiyu, who was unceremoniously dropped by Valentine after being photographed on several dates with fellow trainee Jung Jumin just days after the announcement of their planned debut date. Despite their rocky beginnings, the group debuted to a level of success that even the lofty Valentine Records hadn't expected. With their debut single Paint The Town skyrocketing up the charts, Medusa quickly earned the highest selling debut under the company, and broke many other records, cementing them as monster rookies straight out of the gate.

Medusa are known for their high budget, cinematic music videos. Their visual media depicts the girls in the role of superheroes (though this could be through a number of different lenses; from comic books to morning cartoons, blockbuster movies to magical girl anime, etc.) Medusa's sound is often described as chaotic and cool, characterised by a slick production and often a playful delivery. Medusa's music tends to centre empowerment and explore the subject of gender. This, alongside the members' own values, has made them a common target of antifeminist groups; resulting in an influx of negative articles and rumours spreading about the girls throughout their career. Since the villain figures of the Medusa's hero themed videos are typically male, the backlash of Medusa's (corporately inoffensive) female empowerment message became so ridiculous that the group were accused of 'inciting violence against men.' Though it's unconfirmed that it was in relation to the article, the same day it was posted member Choi Gain tweeted; 'this is the happiest day of my life.' The hate train reached it's peak in 2022, when their song Trash was banned from broadcast due to 'derogatory language.' The song, which encourages a third party to dump their unfaithful boyfriend, was taken out of context, and misrepresented as 'man-hating' by certain online communities, exacerbating the hate thrown Medusa's way. The song was not altered or resubmitted for approval, and promotions for the track were cut from a full music show run to a few fanmeetings. Unconfirmed rumours spread online that the Trash era was 'cancelled' because the girls refused to censors it's lyrics in order to appeal the ban. This is widely regarded as fake today, but it does align with the group's activity suddenly slowing to a crawl, which some believe to be Valentine' idea of a punishment. (What record label would be stupid enough to keep money out of their own pockets just out of spite? Well. Valentine Records.) No news of Medusa's comeback was given throughout the majority of 2023 until the final quarter of the year. Though November saw the release of their first full album, Made You Look!, which achieved critical acclaim and won the group Best Album at the 33rd Seoul Music Awards, promotion and rollout for the record was nowhere near as in depth as those for Sour Candy or Tarot's first full lengths. Despite the success of the album, the conclusion of it's promotions ushered in another period of inactivity for the group, with only very recent reports confirming work on their next record was underway.

While Valentine's lazy management of a group with such selling power is baffling to most, Medusa have still amassed a huge, vocal fanbase off the back of their talent, musical quality, and tenacity in the face of constant scrutiny. However, no matter how many charts they top, or awards they win, there's no hiding from the unsurmountable expectations on their shoulders to uphold the legacy set by the legendary girl groups to have come out of Valentine Records before them. Living up to those expectations, however, would probably seem a little less Sisyphean for the girls of Medusa if the man who'd benefit most from them reaching the top would quit kicking them back down the mountain again.

CHOI GAIN. leader, main vocalist, lead dancer. SON JIYEON. main dancer, vocalist. YU CHAERIN. lead vocalist, lead rapper, visual. HIRONO IKUMI 'HERO'. main rapper, maknae.

PAINT THE TOWN. (Digital Single, 2020) Title: PAINT THE TOWN. GORGONEION. (Mini Album, 2021) Title: YAH-HO!, PINK VENOM. RISING ACTION. (Mini Album, 2021) Title: NARCISSISTIC. TRASH. (Digital Single, 2022) Title: TRASH. MADE YOU LOOK! (Mini Album, 2023) Title: MIDAS TOUCH, MADE YOU LOOK!

TRUST IN ME . . . JUST IN ME.

[fiercynn]

on otw's $2.5 million budget surplus: for fuck's sake do something with our money

the recent ddos attack on ao3 illustrated that the otw (@transformativeworks) has amazing volunteers who were able to get things up and running again after a cyberattack. and i’ve seen a bunch of different people urging others to donate to otw in light of the attack.

the problem? not only are the volunteers not going to get any of the money, but the otw likely isn’t going to do anything else with it, because they already have more than $2.5 million in budget surplus that they have not been transparent about with their members, and that they have no plans for.

yup. we’ve known for years that otw had at least $1 million in their “reserves”; they’ve said so at their last two public finance meetings in 2021 and 2022. but a few months ago, @manogirl and i went digging a little deeper because we suspected that there was even more. 

and we were right. from the documentation available, our estimate is that at the beginning of 2023, they had $2,585,841 that was not dedicated to any purpose. this does not include money they had budgeted to spend in 2023 on regular expenses. just extra. (keep reading to see how we got that figure.)

equally appalling? they have all this money and are barely earning any interest on it. satsuma on dreamwidth looked at their 2021 tax returns and found that only ~$10k of their money is held in an interest-bearing savings account, which resulted in them earning only $90 in interest income for 2021. the rest of it is not in interest-bearing accounts. it is just sitting there.

looking at all the crises and dysfunction that have been discussed and uncovered over the past few months - racist harassment and the three-year-old promise to hire a diversity consultant; the mistreatment of volunteers by the otw board both related to last year’s CSEM attacks, and, separately, mistreatment and racism towards chinese and chinese diaspora volunteers both in the past and recently with the closure of the otw’s weibo account; and of course, this latest ddos attack - all of this indicates that there is severe dysfunction within the org. and donors throwing more money at the organization clearly isn’t helping.

the otw board needs to get its shit together and hire people to help with these things. this is not a new idea - there’s been talk for years about hiring paid staff, and in fact, at their july 2021 board meeting, otw said they would be appointing a volunteer who would be known as the “paid staff officer”, to come up with a plan for hiring paid staff. (to be clear, the “paid staff officer” would be an unpaid volunteer.) it’s been two years since that commitment. they have not, to my knowledge, appointed that officer yet.

it’s infuriating, because otw’s “scrappiness” as an organization is constantly used to defend their obstruction of action on things like racism, and this ddos attack will be used to further that agenda as well. but otw doesn’t need to be scrappy. they are well-resourced and could be using that money to set up more sustainable systems, instead of burning out and mistreating their volunteers, and reneging on commitments to address racism and harassment.

at the very least, if they’re not going to do anything with their massive budget surplus, they should stop taking more of people’s money. but we’d rather they did something useful with it.

if you want to see this change, the otw finance commitee holds a public meeting where you can ask questions and give them feedback. last year it was in mid-october. you do not have to be an otw member to attend. i'll definitely be making noise about it once the date is announced, but you can also follow otw's socials.

one brief aside: at the time of posting, a lot of these links are not working because the otw's website is still down. i copied these links from a twitter thread i made in the past and they should all be correct, so you just may have to wait until the site is back up to look at them.

now, to debunk some common excuses that people (not otw representatives, mind you, but just people on the internet who have decided to defend the org) give when confronted with how much money otw has:

MYTH: otw needs to keep $2.5 million in cash reserves in case of an emergency or unexpected revenue shortfall. REALITY: it’s true that nonprofits do need SOME cash reserves for those cases. typical practice is to have 3-6 months’ worth of operating expenses. otw’s current operating expenses are ~$520,000/year, so 6 months would be $260,000. (and, in fact, when i was told by an otw finance committee member that they had $1 million, they were intending 25% of that to be for emergencies, around $250,000). if you were being REALLY cautious, you could have reserves up to one to two years. but $2.5 million is enough for almost FIVE YEARS OF OPERATING EXPENSES. that is an absurd amount to be hoarding, especially when otw’s history of fundraising is that they always exceed their goals, and always make more money in donations than they need for their expenses within a given year. MYTH: they need this money for legal costs if they get sued. REALITY: otw gets most of their legal expenses donated, which is also not listed in their budget, but is in their audited financial statements. in 2021, the most recent financial statement we have, you can see on page 10 that they received just over $230k in donated legal expenses. they do budget some minor legal expenses yearly: in 2023 they’ve budgeted a little over $5k for “registration fees for conferences and hearings and funds set aside for legal filings if necessary, as well as an allocated share of newly adopted OTW-wide productivity tools”. however they do not have a history of even spending that much: in 2022, they had budgeted $4k for legal expenses and only spent $244 (see cell C29 of the budget spreadsheet). they have never been sued, and they do not appear to budget for litigation costs. and when, in the past, they’ve been asked about what their reserves are for (back in fall 2022 when the finance committee told me they had $1 million in reserves, even though this was patently false given their tax documents for 2021), litigation costs were not brought up.  MYTH: they just haven’t had enough time to figure out investment options. REALITY: they clearly have at least one savings account set up to generate interest, which only has $10k in it. even if they haven’t figured out a full investment portfolio, why wouldn’t they put more money in that account? in the u.s., the federal deposit insurance corporation (FDIC) insures bank accounts up to $250,000, so they should have at least that much in there. absurd. also, they have had plenty of time even for a larger portfolio. if you search “investment” on their site, you’ll see that they’ve been talking for YEARS about investing their reserves. more specifically, at both their 2021 and 2022 finance meetings, they said that they needed more time to research investment options. as usual, they have had far more time than they need.  MYTH: they need this money for new servers. REALITY: otw does in fact include expenses for new servers and server maintenance in their yearly budget reports. you can see this in their 2023 budget spreadsheet if you go to the sheet “program expenses” - under “archive of our own”, you’ll see server expenses. the $2.5 million is money that is EXTRA to their listed expenses and revenue in that spreadsheet.

finally, see below where we’ve given more context on otw’s budgeting and showed our work in coming up with these numbers.

showing our work

firstly, i should note for the record that i sent a message to the otw finance committee through the contact us form on the otw website on may 11, 2023 to ask them to state the amount in their reserves.

it has been two months and i have still not received a response (which i find funny, because at the last otw board meeting in early july, the board specifically said to use that form to contact the finance commitee if we had questions about the 2023 budget), so @manogirl and i were forced to do our own math. we've had this work checked by a number of people, but of course we were only able to work with the information the otw has made publicly available.

a few things you need to know about the otw’s budgeting:

they release yearly budget reports on their website (here’s their most recent one, which shows what they project for 2023 and their “actuals” for 2022), but they do not include their surplus in this report - they only include the revenue and expenses for each year

they also provide both their yearly audited financial statements and their yearly tax returns (form 990s) on their reports & governing documents page, but currently, the most recent statements we have are from 2021

otw typically raises more money in donations than they need within a year, so their surplus is always growing 

they have used the term “reserves” in the past to talk about money, but we don’t know exactly what they mean by “reserves” - is there a dedicated account that they consider their reserves?

because of these uncertainties, the goal for @manogirl and i was was to figure out how much of a budget surplus OTW had at the beginning of 2023, and because we don’t know how they define “reserves”, we defined it as how much they had in liquid assets that were not being dedicated for a specific purpose in their budget. (liquid assets are anything that can be converted into cash quickly – e.g. not equipment like their servers, nor anything that would be held in a long-term investment account, etc)

the first document we looked at was their 2021 audited financial statement. the key number is on page 11, under the section on liquidity, where it lists their end-of-year liquid assets as $2,315,841.

so at the end of 2021, they had over $2.3 million in liquid assets.

but since their 2022 audited financial statement isn’t up, we had to turn to their 2023 budget, and specifically, to their 2023 budget spreadsheet, where they show the “actuals” (what they actually raised & spent in each line item) for 2022 in column C. as i mentioned, they don’t list their reserves in this spreadsheet - only the revenue generated & expenses paid within that year, not anything carrying over from the previous year unless clearly outlined.

so at the bottom you’ll see that their net income (revenue minus expenses) in 2022 was $493,564.94, and that they then transferred $400,000 of that to the reserves sometime in 2022.

and the remaining $93,564.94, their adjusted net income for 2022, presumably carries over to help pay initial expenses in 2023 before they started earning more revenue. they also transferred $130,000 of their reserves BACK to help with that at the start of 2023.

so now we have the numbers we need to calculate the surplus (including reserves) at the start of 2023:

$2,315,841 (liquid assets at end of 2021) + $400,000 (transferred to reserve in 2022) - $130,000 (transferred from reserve in 2023) = $2,585,841 USD at the start of 2023

so that’s our math. otw had $2.5 million at the beginning of this year in surplus, in addition to around $223k (last year’s $93.5k in income and the $130k they transferred back from the reserves at the beginning 2023) to fund their expenses for the first half of this year. this does not even include the hundreds of thousands they raised in april 2023 during their fundraising drive.

okay the main part of our documentation is done, but if you want to read a little bit more about what @manogirl and i learned from doing this deep dive, here are a few additional thoughts/nuggets:

first of all, OTW is incorporated in the u.s. state of delaware, which is interesting because as @manogirl researched, delaware is a tax haven where 501c3 nonprofits don’t have to pay any business tax. plus, in many u.s. states, nonprofits have a limit on the amount of money they can keep without spending, but this too is not the case in delaware. of course, incorporating in delaware to take advantage of those benefits is not illegal! but it is very savvy, a characteristic that seems to have not continued with their financial management past their original incorporation lol

next, some more detail on their finances from their 2023 budget spreadsheet. let’s start with revenue.

the most interesting thing to me here is that while their spring and fall membership drive donations bring in the most, non-drive donations are also substantial. also their “total unrestricted net revenue received” is $975,638.36 in cell C16. however, for some reason, when they calculate their net income for the year, they use cell 12, “total unrestricted revenue” ($1,012,543.42) instead. the difference between those two cells is that cell 12 is the amount before their transaction fees are subtracted. but i have no idea why the transaction fees would be ignored when calculating their net income. is this an error?

next, their expenses, which came out to $518,978.48. not too much surprised me here except how low their legal advocacy spending still is, plus  the fact that they’d given francesca coppa a grant for her book on the history of fanvidding, lol. (i’ve written more about this; so has wistfuljane on dreamwidth if you scroll down a bit from here).

it’s also interesting to look at what they’ve budgeted (both the revenue & expenses they’ve expected going into the year) for 2022. in every revenue category, they have exceeded their goal, except for $50 in “other income”. and in most of their expenses categories they have overestimated their needs, except for going over about $700 in the transformative works & cultures, & about $500 for development. this just shows how much they are able to meet their yearly expenses (overestimated) with the revenue generated each year (underestimated), & still have substantial amounts left over (almost half of revenue transferred to reserves)

so that’s what we’ve found. if anyone else notices weird things in their budgeting, please let us know!

[allthecanadianpolitics]

Teffal Mohamed Amine has given up hope on ever buying a home. "I've completely maxed out my savings and credit card that were supposed to be used for a house," he tells CTV News. "I've literally had to go without food for lack of money at times, especially recently." The software engineer was laid off from his job in December 2022. "I was on probation and a lot of people, including myself, were let go for lack of budget," he explained, adding he's been on employment insurance (EI) ever since -- but has yet to receive a single cent.

Continue Reading.

Tagging @politicsofcanada

[usafphantom2]

U.S. Air Force Awards RTX $1 Billion Contract to Upgrade F-22 Sensors

The contract follows the recent news about the tests of new advanced sensors on the F-22 Raptor, which the U.S. Air Force is planning to field quickly as part of the ongoing upgrade program.

Parth Satam

F-22 new sensors contract

An F-22 Raptor takes off from Nellis Air Force Base, Nevada, June 30, 2022. (U.S. Air Force photo by Senior Airman Zachary Rufus)

Amid the acute need for 5th generation fighters in modern combat scenarios against peer adversaries, the U.S. Air Force is looking to upgrade its F-22 Raptor with a series of sensors to make it more survivable and relevant. The service announced on Aug. 29, 2024, the award of a $1 billion contract to RTX‘s Raytheon for new sensors that are categorized as “Group B hardware”, together with spares and support equipment.

“Work will be performed in McKinney, Texas, and is expected to be completed by May 8, 2029,” said the DoD contracts statement. The Aviationist had recently reported that the Air Force was testing new sensors on the F-22 to extend its service life, which would also be applied to the NGAD (Next Generation Air Dominance) family of systems.

That report also quoted Brig. Gen. Jason D. Voorheis, the Program Executive Officer for Fighter and Advanced Aircraft, who said they were hoping to field these sensors faster. The Raptor team had conducted six flight tests to demonstrate the advanced sensors.

“The F-22 team is working really hard on executing a modernization roadmap to field advanced sensors, connectivity, weapons, and other capabilities. We’re executing that successfully, and that will lead to […] a rapid fielding in the near future.” This would be done through a Middle Tier Acquisition (MTA) program.

Some of the sensors included in the contract could be the stealthy pods seen on the F-22. Air and Space Forces earlier quoted officials who confirmed that the pods host IRST (Infrared Search and Track) sensors. The development of a new IRST sensor for the Raptor was also confirmed by the service’s 2025 budget request, which however did not mention the sensor being podded.

This work is part of an F-22 improvement campaign that calls for $7.8 billion in investments before 2030, which includes $3.1 billion for research and development and $4.7 billion in procurement.

An F-22 Raptor with the Air Combat Command F-22 Raptor Demonstration Team performs a flyover and air demonstration at the U.S. Air Force Academy in Colorado Springs, Colo., Aug 13, 2024. (U.S Air Force Photo by Trevor Cokley)

F-22’s future in the U.S. Air Force

The development is also in contrast with previously reported USAF plans to retire the older F-22 airframes, for which it had sought approval from the Congress. These F-22s are 32 Block 20 units from a total fleet of 186. At the same time, the service aims to upgrade the remaining 154 with new cryptography, an expanded open architecture, new weapons and an advanced threat warning receiver, beside the IRST.

However, the service now appears to be reconsidering that plan, after Voorheis was quoted in the ASF report: “From an F-22 sunsetting perspective, I don’t have a date for you.” “What I can tell you is that we are hyper-focused on modernization to sustain that air superiority combat capability for a highly contested environment for as long as necessary,” he added.

IMAGE 3: A U.S. Air Force F-22 Raptor assigned to the 3rd Wing takes off above Joint Base Elmendorf-Richardson, Alaska, Jun. 17, 2024. (Image credit: USAF/Senior Airman Julia Lebens)

The U.S. Air Force describes the Raptor as a combination of stealth, supercruise, maneuverability, and integrated avionics, designed to project air dominance, rapidly and at great distance. Initially introduced as an air-superiority-only asset, the F-22 later started performing both air-to-air and air-to-ground missions.

The F-35 is largely a strike fighter and an airborne sensor-fusion and data-processing capable command post in its tactical orientation. But the Raptor is a pure air dominance interceptor. Although costly to upgrade and maintain, it nevertheless can play an important role in degrading adversary air power through either long-range BVR (Beyond Visual Range) and dogfights.

Moreover, having F-22s also increases the number of LO (Low Observable) aircraft in the inventory, at least until more F-35s are available, especially the TR-3 (Technology Refresh-3) Block 4 upgraded variants.

In 2021 too, then Air Force chief General Charles Q. Brown Jr. revealed his “4+1” fighter plan, suggesting the F-22 to be replaced by the NGAD while retaining the F-35, F-15E and EX, and the F-16. The “plus 1” was the A-10, but in March 2023, Brown said the A-10s were being retired faster than expected and the entire fleet would possibly be divested by 2030.

Meanwhile the NGAD’s future itself is uncertain after U.S.A.F have noted its technical complexity and financial implications. The F-22 thus seems to be back in the running.

On Jul. 10, 2024, Air Combat Command chief Gen. Kenneth Wilsbach said during a Mitchell Institute event that the service has no official plan to retire its F-22 Raptors. “Right now, there’s…frankly isn’t an F-22 replacement and the F-22 is a fantastic aircraft,” said Wilsbach. “I’m in favor of keeping the Block 20s. They give us a lot of training value, and even if we had to in an emergency use the Block 20s in a combat situation, they’re very capable.”

F-22 Indonesia

U.S. Air Force F-22 Raptors assigned to the 27th Expeditionary Fighter Squadron, conduct Dynamic Force Employment operations at I Gusti Ngurah Rai Air Force Base, Indonesia, on Aug. 6, 2024. (U.S. Air Force photo by Senior Airman Mitchell Corley)

Other known F-22 upgrades

Other upgrades mentioned in the 2025 budget request are a Mode 5 Identification Friend or Foe (IFF), Link 16, a Multifunction Information Distribution System Joint Tactical Radio System (MIDS JTRS), a new Operational Fight Program, advanced radar Electronic Protection and an Embedded GPS/Inertial Navigation System (INS) Modernization (EGI-M).

Voorheis also mentioned the GRACE (Government Reference Architecture Compute Environment) software that would allow “non-traditional F-22 software” to be installed on the aircraft and provide “additional processing and pilot interfaces.”

A new helmet is also being tested, as part of the Next Generation Fixed Wing Helmet program to replace the current 40-year-old HGU-55P headgear. The new helmet would also allow the introduction of helmet-mounted devices which provide essential flight and weapon aiming information through line of sight imagery, easing the workload of the pilots.

About Parth Satam

Parth Satam's career spans a decade and a half between two dailies and two defense publications. He believes war, as a human activity, has causes and results that go far beyond which missile and jet flies the fastest. He therefore loves analyzing military affairs at their intersection with foreign policy, economics, technology, society and history. The body of his work spans the entire breadth from defense aerospace, tactics, military doctrine and theory, personnel issues, West Asian, Eurasian affairs, the energy sector and Space.

@Theaviationist.com

[scotianostra]

Happy Birthday Bill Forsyth the Scottish film director and screenwriter.

Born in Glasgow July 29th 1946 and educated at Knightswood School. On leaving aged 17, he answered an advertisement for a “Lad required for film company” and spent the next eight years helping make short documentary films.

Leaving documentary production in 1977, Forsyth wrote the scripts for Gregory’s Girl and That Sinking Feeling in the hope of breaking into feature films.

Obtaining finance, however, proved frustrating and problematic. The BFI Production Board rejected Gregory’s Girl three times. Forsyth later said, “I remember one torment of a meeting when I tried to explain that Gregory’s Girl was really a structuralist comedy… I suspect my script was too conventional although nobody actually told me as much.”.

That Sinking Feeling was eventually made in 1979 with amateur actors from the Glasgow Youth Theatre, including John Gordon Sinclair (who later took the lead in Gregory’s Girl , its tiny £5,000 budget was raised from a variety of sources.

Forsyth’s distinctive voice as writer-director is already apparent in this tale of a robbery of stainless steel sinks by a gang of unemployed Glasgow teenagers - intensely humanistic and humorous yet with an underlying seriousness of purpose. This ability to create a self-contained yet believable world with a keen sense of the absurd and bizarre in the everyday is perhaps only rivalled by the work of British television writer Alan Plater. The film opened to great popular and critical success at the Edinburgh and London Film Festivals but was unable to secure more widespread distribution.

Gregory’s Girl was Forsyth’s breakthrough film. This acutely observed story of adolescence and first love set in a Scottish new town was rapturously received by both critics and public alike. Forsyth’s reputation seemed to be secured by the success of his next venture, Local Hero, a first collaboration with producer David Puttnam.

In 1999 he made Gregory’s Two Girls as a sequel to Gregory’s Girl, with John Gordon Sinclair playing the same character, but it received mixed reviews.

Gregory's Girl, to me, is still a very funny film, but it feels dated, that's not to say that it hasn't stood the test of time with some folk, indeed The Glasgow Film Theatre (GFT) showed a 4k version of the 1980 cult classic last August 1which was followed by a Q&A session with some of the cast including Gordon Sinclair(Gregory), Clare Grogan.

In 2022 the popular Scottish actor Peter Capaldi spoke of how Bill Forsyth saved him from living off pakora and lager after featuring him in Local Hero. The Doctor Who and The Thick Of It star praised the Scots film director in an acceptance speech after receiving a Bafta Scotland Award for Outstanding Contribution to Film & Television.

I love Capaldi's affection for our country, speaking to the audience while holding his Bafta, Capaldi said the award was “for getting lucky, and for being lucky enough to be born in Scotland”.

He said: “Forty years ago I was just up here (in Glasgow) as an art student, living off pakora and lager for breakfast.

“Bill Forsyth scooped me up and put me in Local Hero.

“It was an act of kindness and confidence that baffled me and much of the industry to this day, but I wouldn’t be here without him and nor would a lot of others.”

Capaldi landed this breakthrough film role aged 24 playing Danny Oldsen, a naive young oil industry executive, in the film.

A number of actors, including Dee Hepburn, will be a part of a celebration of the films of Bill Forsyth at the Outwith Festival of music and arts which takes place in Dunfermline from September 3-8. It will also screen That Sinking Feeling and Local Hero at the city’s Carnegie Theatre.

[chirpsythismorning]

I think what really puts into perspective the likelihood of ST5 premiering in 2025 (I’m gonna predict March 21st for fun), is that a year from now is just barely Summer 2024, and yet as of now, they have not even started filming.

Are fans really expecting them to have season 5 filmed, fully prepped with marketing and promo ready, with everything ready to be released within one year from now (roughly speaking, give or take a couple months)?

In all honesty it's very much the norm for Stranger Things' to have promo leading up to an upcoming season last for months. And I'm not talking like 3-5 months I'm talking a year+.

This isn't like s1 where they put out a trailer and a release date and some low budget marketing roll out on social media, which is something they do for every new Netflix show. This is a $35 million + budget per episode series and thats just to budget for the literal episodes... There are dozens of partnerships they have going on with merchandise and things like that which are discussed and planned for months/years. There are music rights negotiations which go on for months upon years. Shit, post-production has the capacity to take, at the very least half of the time it takes to film, and in some cases as much time or even more. This shit takes time!!!

The build up to a new season is so huge, that each month leading up to it, there are different things dropping, creating the hype that guarantees millions of fans engagement for a long time.

Like 1 year up to the 6 months before the release, promo starts heating up officially. The main accounts for the show will start posting stuff, initially it'll be cryptic using old footage to kind of recap the characters and get us refreshed on where we left off. This time could have some really awesome surprises, but it's mostly casual. If we're lucky we can count on Atlanta filming paparazzi bc those people are insufferable...

6 months up to the one month mark is when it starts to get more real. At this time we're likely to get an episode list announcement, along with sneak peeks and teasers that are quite short, being that they're still likely in the editing process when they are releasing these so it's very much in part them trying to tide us over and keep us interested.

The final 3 months leading up to it is when it gets REAL real. This is at the latest when we'll get a release date announcement, but that's a worst case scenario. I feel like it took so long for them to announce s4, and not until like Feb 2022 bc they wanted to be certain certain. And that could apply to s5 as well. The state of the world isn't like awesome I would say... Look what happened last time? Like it sucks to be the person to say that but I think also considering delays in general, for any reason are a possibility, is also what contributes to my open mindedness about an early 2025 release.

And so based on what we should be expecting for marketing, that means that assuming s5 would somehow premiere in summer 2024, means we are already close to the one year mark, which means promo should be ramping up right now, with literal content to share? And yet we have nothing filmed...?

A lot of people have this idea that s5 is going to take as much time to film as s1 took, which is just not the case. Not saying it will take as long as s4 took, however it's still going to take a while. One of the main factors for this is an in demand cast with conflicting schedules. In a perfect world, everyone would be available all the time throughout the entire production run. Instead what you have is certain actors not available at this time, and so you have to overlap those that need scenes together and schedule according to all of that. And so even if it wouldn't take more than 7 months to film literally, adding another 4+ months might be necessary to accommodate everyones schedules so that they can have these A/B list actors be able to film scenes together.

And then there’s editing and VFX to account for, happening during filming yes, but also with them needing months to focus on AFTER filming is complete. S5 is arguably going to have more VFX than any other season, as most of the season is expected to be surrounded by UD conditions and with the final battle being pretty epic with a 3 headed dragon potentially. Editing is more likely to be 7+ months post filming AT LEAST, vs. like the 4 or less, which is what I think everyone is imagining and telling themselves.

This is also the last season and so they obviously want to focus on the quality, not their ability to churn it out as fast as possible. Rushing for a quick release is just setting themselves up to flop.

The story is over forever after this (excluding spin-off prospects). It would make sense for them to give themselves the wiggle room to make it perfect (the stakes are so fucking high you guys), as opposed to rushing the entire time just to have it release as early as possible.

This also reminds me of what Noah said when asked about s5 premiering in 2024, where he basically just deflected and said that they want to focus on quality… essentially hinting at the fact that it’ll probably not be soon as we’re expecting, but we’re better off for it bc it gives them time to ensure it's the best that it can be and also is just realistic in terms of considering potential unplanned delays.

And then there are the strike implications. While I think the ST production is lucky in that they wouldn't be impacted as much as other productions, that doesn't mean the solidarity won't impact other parts of the production beyond just the writers. This is an industry where people are extremely overworked and underpaid, where a strike could be on the horizon at any moment. And we’re out here telling them hey i know the conditions are horse shit, but I'm gonna need you to step it up and experience even worse conditions bc I need s5 asap... which is just, it’s asking too much if I’m being honest.

Not trying to rain on anyone’s parade here. I know it sucks hearing that it could be another 1 year and 10 months. But lets be serious right now.

All the action that happens in the fandom, building up to the release is arguably just as exciting as the actual premiere and I think we overlook that. Again, once it premieres, it's over. So being so hellbent that it comes as soon as possible, is built on this idea that getting it is the only worthwhile part of this experience, which couldn't be further from the truth. Hiatus and all of the activity that happens during that time is what makes this experience so unique and without it, none of us would be here.

I think realistically, the timeline for s5 production is likely to look something like filming taking place from May 2023-Feb 2024 (giving them AT LEAST 10 months, but if you ask me srs i think it'll take 12...). We should get an announcement post from the official Netflix/ST social media accounts the very day filming starts.

As time passes and they're filming more and more, we will start to get teasers and sneak peaks from the little bit they have filmed from the earlier episodes in the season. Technically they can't spoil that later stuff too much in promotion, so it does work out for us in that sense.

But in all honesty, well planned out and detailed promo is likely to not start getting official until this fall when they’ll actually have at least (hopefully) over half of s5 filmed, and be planning ahead plenty in advance so all of the promo leading up to the release is well thought out.

I won’t rule out Fall 2024. But there are no Friday dates in fall 2024 that ring any bells to me as being the perfect day? Maybe Winter 2024? Or like January/Feb 2025?

The problem is Netflix loves ST for their summers... But summer 2024 is too soon and Summer 2025 is too late imo...

So what it will likely come down to is them trying to be realisitic about their options, and how to ideally get it to match with the setting of the show, which is something they have tried to do with s2-3, but couldn't in s4 (for obvious reasons), and so I definitely see them thinking ahead to try to bring back that approach for s5 if they are able to.

So filming, best case scenario, ends maybe Jan-Feb 2024. If we give them at least 7 months, which is still arguably rushing to me, that lands them in September 2024.

BUT if they were smart they would be realistic and just plan for late 2024/early 2025 so that they don't have to keep delaying... also why they haven't announced a date/year... if it was for certain going to be 2024, they would say it. But they aren't. That alone should tell us they are not willing to make that commitment bc it's not something that can be made when there are so many impromptu factors at play.

I imagine a scenario though honestly, where it takes them a year (12 months to film), so they won't be done until May 2024, which means that they would have until January 2025 to edit with 7 months for that strictly. And that just honestly feels realistic to me to look at instead of hoping that everything just is swift and fast as possible.

Not to mention ST5 2025 just fits.

However, I don't see anything wrong with hoping for late 2024, since as of now I think it is still possible.

But I also think, keeping all of the factors in mind, most notably a potential strike and also them ensuring quality over a speedy release, I think 2025 is something people should also be prepared for as a possibility.

The good news is that we'll know eventually as s5 starts filming and as time goes on.

If filming is complete in 2023 then we could definitely hope for a fall 2024 release. If filming isn't complete officially until early/mid 2024, then pack up your duffel bags bc we're going back to spring break...

[maximumwobblerbanditdonut]

Can the author of this article dated 1st September provide information on what, where and when Sam Heughan has demanded and spoken about the closure of a vital Creative Scotland fund for artists and urged the SNP (Scottish Government) to reverse budget cuts in the arts? The writing is not detailed enough, readers may lose interest.

Professors of the Royal Conservatoire of Scotland (RCS) have written to First Minister John Swinney and Angus Robertson, Cabinet Secretary for Constitution, External Affairs, and Culture expressing concerns about funding from Creative Scotland. Alan Cumming also voiced his concerns about the arts cuts in a video message on his Instagram.

As much as we want to believe in the sentiment cited in the text by the Arts Correspondent, we don't think Sam spoke out or discussed the fund's problems with the guest of honour, Culture Secretary Angus Robertson, at the MPC party (coincidentally Heughan's birthday party), as the Scottish government announcement is recent.

If Heughan has any opinion on the budget cuts announced by the Scottish Government, why not express his opinion and post a video on his Instagram instead of reposting an article of his friend?

We have not seen him express their opinion regarding the budget cuts, as claimed by Brian Ferguson, the Arts Correspondent in this article. It's possible was a private conversation with the Correspondent, or perhaps the publication is aimed at boosting Sam Heughan's image and keeping him relevant. it wouldn't be the first time. If the author's purpose was to persuade readers about Sam's activities, it seems to have been unsuccessful.

The article is getting the attention it deserves 👀

Posted 2nd September 2024

@greatcloudphilosopher - If it was a call, the information was not off the record, the name of the source is attributable and, in the public interest, the direct means of the evidence obtained. If he asked to RCS alumni, was SH the only one who responded? What happened to the rest of the graduates? Did they not give precise answers? The reporter inflated SH's name starting with the title of the article.

@greatcloudphilosopher - I don't think SH is leading any campaign or has good contacts in the Scottish government. He hasn't appeared in any Scottish campaign since the 2014 Scottish independence referendum (when Outlander started), after which he hasn't been seen at any Marche. It's his pals in the Scots media who inflate his resume and ego. Jack Lowden has been insisting and asking for funding for the arts for years, including at the BAFTA-Scotland 2022, when he won the award for best actor; his speech refers to this problem.

[kylesvariouslistsandstuff]

Rumor had it...

Until someone said something...

And then another someone said something...

I won't sugarcoat it, though... I'm sure SPIDER-MAN: BEYOND THE SPIDER-VERSE saw something of an overhaul after it was **clear** that it was never going to make its initial 3/29/2024 release date.

This happens on many animated movies. Whole movies' worth of unused story stuff gets chucked, and ideally... That happens EARLY in production, before whole chunks of the movie are animated and finalized.

We heard all the stories of the animators being crunched on ACROSS THE SPIDER-VERSE, stuff being changed at the very last minute on Phil Lord's whims (because of his and Miller's whole "improvisational" approach to making things, which arguably isn't conducive to huge-budget movies. See also, their time on SOLO), to the point where at least two versions of the movie ran simultaneously in theaters and even further changes were evident on the disc release.

And this was all when Sony put it out there that BEYOND THE SPIDER-VERSE would follow in nine months...

Really, if you're going to do a back-to-back set of movies (remember, ACROSS was going to be a "Part One"), be ready to do so. With live-action, you can film both parts pretty close together depending on everyone's schedules. With big screen animation? Uhhhh, well, again... If everything's locked and in place... But that clearly was NOT the case with BEYOND THE SPIDER-VERSE. The delay gives them plenty of time to actually work stuff out **before** things are animated.

I'm not panicking. The movie is nowhere near done. I have no idea what it'll be like. I'm not gonna prematurely write off the end of the SPIDER-VERSE trilogy.

I'm totally okay with stuff being figured out now than right before release date. Not everything is a last-minute miracle like TOY STORY 2, whose final year of production should've went down in history as a "Phew! The movie turned out great, BUT... Never again!" situation.

I'm saying, LOCK the picture a year in advance. It's like finishing a great clay project, now you have to put it in the kiln. The way some animated productions go, like ACROSS, like FROZEN I & II, etc.... It's like they keep shutting off the kiln, taking the halfway-fired clay project out to "fix" it, put it back in, take it out again, "fix" it, put it back in- You get the idea? It sounds like hell!!

Do like Walt Disney. Razor into the picture and tear it down WELL before anything is animated. But the current industry model seems to love this whole "Oh yeah, we can tweak and fix it while it's in production!" thing.

As for the whole "most of the movie got thrown out" rumors? The InSneider isn't a place I get my news from, and I hear it's not the most reputable place... That being said, despite Pemberton and Miller's claims, I have no doubt stuff got thrown out. It happens on productions, especially this far out from release date. The base is probably the same, the construction is probably just different, that's all. I'm sure what we'll see on the big screen a few years from now is rooted in what was planned back in 2022/23...

All I know is, production wasn't near beginning on BEYOND when ACROSS was in theaters. Approximately July 2023-ish. Hailee Steinfeld had remarked that she didn't even record her lines for BEYOND, and the Vulture expose on the working conditions on that movie said that only some test sorta stuff had been done on BEYOND and little else. A release date is usually a suggestion anyways, a number meant to whet the appetites of investors, no matter how far along the movie actually is. Animated movies of this caliber are often delayed, sometimes outright scrapped. Disney Animation, Pixar, DreamWorks, etc. Off the top of my head, outside of a sequel, a more original/untested animated movie keeping its first-announced release date post-2010 seems rather rare... Possibly a list for another day? I dunno!

So... Yeah, BEYOND THE SPIDER-VERSE is a long time away. No concrete release date is currently set, Sony Animation has other projects in the works (such as K-POP: DEMON HUNTERS, dropping on Netflix next year), and it's a big finale to what's already a massive multiverse epic... And I'm sure, given the current culture of leaks and rumors and info being so readily available at our fingertips, this picture will see a ludicrous amount of scrutiny before release.

If those stories never got out about ACROSS THE SPIDER-VERSE, would the ever-so-fickle online animation fansphere have overnight shifted to "it's only half a movie thus it sucks"/"it's not very good, actually"/"ohhhh it definitely shows"? After all that gushing praise? If we never knew these behind the scenes stories, would we even tell that some of these movies had a lot of trouble coming together?

Most of our big favorites were not cakewalks. Making things is often hard! Of course, this is not to excuse crunching the animators, my larger point is... BEYOND is nowhere near being done, so... I can only hope whatever issues the story has, they're being worked out now. Or were being worked out after the film was listed as a TBD release.

... And, let's just say I dislike the movie come 2026/2027?

I'll just go watch something else. I've been disappointed by sequels before, and I'm doing okay I'd like to think lol. Fanfiction exists, your alternate "better" version is in your head, etc. When something stinks to me, I try to chalk it up to "They made decisions that they thought were right at the right time, and it just didn't work out."

[thozhar]

Gulf migration is not just a major phenomenon in Kerala; north Indian states also see massive migration to the Gulf. Uttar Pradesh and Bihar accounted for the biggest share (30% and 15%) of all Indian workers migrating to GCC1 countries in 2016-17 (Khan 2023)—a trend which continues today. Remittances from the Gulf have brought about significant growth in Bihar’s economy (Khan 2023)—as part of a migrant’s family, I have observed a tangible shift in the quality of life, education, houses, and so on, in Siwan. In Bihar, three districts—Siwan, Gopalganj, and Chapra—send the majority of Gulf migrants from the state, mostly for manual labor (Khan 2023). Bihar also sees internal migration of daily wagers to Delhi, Bombay, and other parts of India. Gulf migration from India’s northern regions, like elsewhere in India, began after the oil boom in the 1970s. Before this time, migration was limited to a few places such as Assam, Calcutta, Bokaro, and Barauni—my own grandfather worked in the Bokaro steel factory.

Despite the role of Gulf migration and internal migration in north Indian regions, we see a representational void in popular culture. Bollywood films on migration largely use rural settings, focussing on people who work in the USA, Europe, or Canada. The narratives centre these migrants’ love for the land and use dialogue such as ‘mitti ki khusbu‘ (fragrance of homeland). Few Bollywood films, like Dor and Silvat, portray internal migration and Gulf migration. While Bollywood films frequently centre diasporic experiences such as Gujaratis in the USA and Punjabis in Canada, they fail in portraying Bihari migrants, be they indentured labourers in the diaspora, daily wagers in Bengal, or Gulf migrants. The regional Bhojpuri film industry fares no better in this regard. ‘A good chunk of the budget is spent on songs since Bhojpuri songs have an even larger viewership that goes beyond the Bhojpuri-speaking public’, notes Ahmed (2022), marking a context where there is little purchase for Gulf migration to be used as a reference to narrate human stories of longing, sacrifice, and family.

One reason for this biased representation of migration is that we see ‘migration’ as a monolith. In academic discourse, too, migration is often depicted as a commonplace phenomenon, but I believe it is crucial to make nuanced distinctions in the usage of the terms ‘migration’ and ‘migrant’. The term ‘migration’ is a broad umbrella term that may oversimplify the diverse experiences within this category. My specific concern is about Gulf migrants, as their migration often occurs under challenging circumstances. For individuals from my region, heading to the Gulf is typically a last resort. This kind of migration leads to many difficulties, especially when it distances migrants from their family for much of their lifetime. The term ‘migration’, therefore, inadequately captures the profound differences between, for instance, migrating to the USA for educational purposes and migrating to the Gulf for labour jobs. Bihar has a rich history of migration, dating back to the era of indentured labor known as girmitiya. Following the abolition of slavery in 1883, colonial powers engaged in the recruitment of laborers for their other colonies through agreements (Jha 2019). Girmitiya distinguishes itself from the migration. People who are going to the Arabian Gulf as blue-collar labourers are also called ‘Gulf migrants’—a term that erases how their conditions are very close to slavery. This is why, as a son who rarely saw his father, I prefer to call myself a ‘victim of migration’ rather than just a ‘part of migration’. It is this sense of victimhood and lack of control over one’s life that I saw missing in Bollywood and Bhojpuri cinema.

— Watching 'Malabari Films' in Bihar: Gulf Migration and Transregional Connections

[leasstories]

Lea’s advent calendar day 25 - A “fake” date

@writerthreads writing prompt for Christmas (2022), prompt 18 :

[fake dating for a Christmas party/ball]

Eddie x fem!reader

No trigger warning

WC: ≈ 0.8K

December 18th, 1987

Your university decided to organize a Christmas ball during the first week-end of the holidays, one problem: all of your friends have a date except you, so the first person who comes to your mind to have a fake boyfriend is your childhood best friend Eddie.

Eddie is currently still living in Hawkins and works as a bartender at the Hideout. You really hope Eddie doesn’t wrk tomorrow because you don’t feel like you’ll be capable of going to this ball alone. You’ve already have had a hard time adapting to the life of a university student and didn’t really made friends, so you really have no one to go the ball with.

You take a deep breathe before dialing Eddie’s phone number, Eddie answers right away.

“Sweetheart!” Eddie exclaims

“Hi Eds” you tell him nervously.

“How is life at university?” He asks.

“It’s good” you lie. “About that… I have a request, if you’re free tomorrow of course” You tell him, anxiously fiddling with the phone’s cords.

“Anything Sweetheart” Eddie answers.

“Would you accept to be my fake date at the university’s Christmas ball?” You ask nervously fidgeting even more with the phone’s cord.

Eddie takes a deep breathe. “You know I hate those kind of crap”

“I know” you say already disappointed.

“But if I’m your only solution, I can make an effort for you” Eddie continues.

“Oh my god! Thank you, thank you, thank you!” You tell Eddie excited.

“You’re welcome Sweetheart” Eddie says, chuckling at your excitement.

As soon as you hung up with Eddie, you rushed to the closest store and bought a long red dress, yo bought, according to you, the prettiest one within your budget.

The next day, you wake up all nervous and excited at the same time, and I can assure you it’s not a good combination. Thank god you do not have a roommate because you woke up super early and you’ve been so excited that you can’t help but be active. Once you know the hairdresser from the corner is open you rush downstairs and go spend some of your spare money on. More elaborated hair style. Even if you pretend not caring about what people think of you, it isn’t true, besides you also want to impress Eddie.

After your trip to the hairdresser, you spend hours trying different make up combinations until you finally found the one. You finish at 4pm and put on your dress. Eddie is supposed to arrive at 5:30 pm and the ball starts at 6:30 pm. You’re so nervous.

You hate this fake dating thing with Eddie. Not because of people’s opinion, no. But because you have had a crush on him since the two of you hit puberty. But apparently this crush is unrequited and Eddie considers you like your best friend and that’s all. You would rather have him as a best friend than lose him altogether so you’ve been keeping quiet about it for years now.

But deep down, you hope that maybe, seeing you all pretty will make him realize that you are indeed attractive. You jump from your bed when you hear a knock at your bedroom door. You rushes to open it, and there, stands Eddie Munson, in a suit!

“Hello handsome” you say smiling.

“Hello beautiful” Eddie answers.

“Come on in” you say, once Eddie came into the room, you close the door.

“Okay so do we have a backstory?” Eddie asks.

You shrug. “High School Sweethearts?” You say but it sounds more like a question.

“Yeah cool. Best friends who started dating?” Eddie asks.

“Yep” you say, popping the “p”.

A little while later, Eddie and you go to the room in which the ball takes place, when you and Eddie enter the room, all eyes are on you and your boyfriend for the night.

Every time someone goes talking to you and Eddie (well they are mostly talking to Eddie), you have to pretend you’re a stupidly happy couple. It hurts to know that all of this is just pretending, that Eddie isn’t *really* in lobe with you.

It’s time for the slow dance. You wrap your hands around Eddie’s neck and he wrap his around your hips. You slow dance like this for four songs and at the beginning of the fifth, Eddie leans closer to you. You know what is going to happen and you don’t even care if its just pretending, yo want to know how Eddie’s plush lips will feel against yours. Eddie kisses you breathless and when you part, he admits.

“I’ve wanted to do this for so long.”

“Me too…” you confess.

“We’re so stupid” Eddie says chuckling before kissing you again.

What started as fake dating blossomed into really dating.