#george langley

[pejite]

(new gshade preset! hehe)

The day after Thomas had accompanied Edwin to work, the house was steeped in a heavy, oppressive silence. The children had long since been put to bed, and Edwin had finally returned from his day’s toil, but the weight of the day’s sorrow hung between him and Wilhelmina like a fog.

They sat together in the parlour, but the space between them felt vast, filled with unspoken fears and the overwhelming dread that had settled in their hearts. Though there were many things to be said, questions that needed asking, the burden of those words was so heavy that neither could bring themselves to break the silence.

Edwin was the first to stir. He let out a deep, weary sigh and leaned forward, his elbows resting on his knees as he buried his face in his hands. After a moment, he clasped his hands together, as if in prayer, before finally gathering the strength to speak. “The doctor came by this afternoon… What did he say?” His voice was soft, almost afraid, as though the answer might shatter him completely.

Wilhelmina turned her gaze to him, her eyes red and swollen from hours of crying. She hesitated, her lips trembling as she tried to find the words. “He’s given George laudanum” she finally whispered, her voice cracking with emotion. “To keep him calm… to help him sleep.”

Edwin stared at her in disbelief, the full weight of her words hitting him like a blow. “But… laudanum is far too strong for a baby” he stammered, his voice laced with desperation. The realisation of what this meant dawned on him slowly, a cold, creeping dread that settled in his chest. The laudanum wasn’t a treatment; it was a final comfort, a way to ease George’s suffering as he slipped away.

“There’s nothing more we can do” Wilhelmina said, her voice barely audible as she clutched the fabric of the sofa, her knuckles white from the strain.

Edwin let out a choked sob, his head falling into his hands as he tried to hold back the tears that were now threatening to spill over. He stood abruptly, unable to sit still any longer, his emotions too intense to contain. “Where are you going?” Wilhelmina asked, her voice filled with fear and sadness.

“To see him” Edwin replied, his voice thick with grief. He couldn’t bear the thought of leaving George alone, not when he was so close to the end.

But Wilhelmina shook her head, her expression one of quiet desperation. “Let him sleep” she pleaded. “Please, Edwin. Haven’t you noticed? He hasn’t coughed or cried in a while. He’s finally at peace, even if just for a little while. Don’t wake him… don’t take that away from him.”

Edwin’s resolve faltered as he looked at her, the grief in her eyes mirroring his own. He wanted to argue, to insist that he needed to be with his son, but the sight of Wilhelmina, standing there so fragile and broken, took the fight out of him. His shoulders slumped, and he turned away, struggling to hold back the sobs that threatened to break free.

Wilhelmina watched him, her heart aching with a pain that was almost too much to bear. She couldn’t let him go, not when they were both suffering so deeply. She took a step towards him, her hands trembling as she reached out to touch his arm. “What are we going to do?” she asked, her voice quivering with the fear that had been gnawing at her for days. “What are we going to do, Edwin?” The question hung in the air between them, heavy and unanswerable.

Edwin turned back to her, and the sight of her tear-streaked face, her eyes wide with panic and sorrow, broke something inside him. He reached out and pulled her into his arms, holding her tightly as the tears finally came. He had tried so hard to be strong, to be the pillar she could lean on, but now, in the face of their shared grief, all of that strength crumbled away. They clung to each other, their tears mingling as they cried together, their sobs filling the silent house.

For what felt like hours, they stood there, wrapped in each other’s arms, united in their pain. The world outside had faded away, and all that remained was the two of them, lost in their grief, trying to find solace in the only place left to them, in each other.

Finally, Edwin spoke again, his voice hoarse from crying. “We’ll take it one day at a time” he said, his words more a plea than a promise “We’ll find a way through this, somehow.”

[karizard-ao3]

New here! I'm losing my mind over your nge halloween drawing. It's such a great idea I'm obsessed. Asuka deserves her hot girl halloween!✊ Since halloween is coming up I wanted to ask what costume Rei would choose (I doubt she'd go to a party, anyways) and what happens at the party! I hope Shinji and Asuka end up making out or worse

Thank you! 😔🙏

The first thing that popped into my head for Rei was that she'd dress up as a pest exterminator. She'd go to the party and literally any time someone she didn't already know tried to talk to her, she'd pretend to spray them with poison and then walk away. Maybe she brought real poison but Shinji found out and made her dump it.

As for what happens at the party, if we're sticking with the mean girls au but Asuka and Kaworu are both Reginas, that's really hard to predict! I feel like they spend the whole night competing for Shinji in increasingly more whorish ways (I mean that affectionately) so he's having the time of his life. I think Asuka's a bit more ruthless than Kaworu, though, so when she starts giving Shinji a lap dance in front of everyone, Kaworu concedes for the time being, leaving Asuka to do what she wants with Shinji for the rest of the night. What that is I'll leave to your imagination.

[takashimakato]

Dolly lore drop (Mainly for @littlemiss-noname)

She can change her body type to fit the ideal body type of the musician she's with in these LSD Dreams.

voice claim: Regina George (Mean girls 2004)

the Main insporations for her were

Martha from baby reindeer

Courtney love

Regina George

Heather Chandler

Courtley Jester

Asuka Langley Soryu

[midnight-star-world]

MSR 10-19-24 Midnight Star Report 10-19-24

#CountryMusic

So today I will be bringing you the Top 20 Country Music Songs for the week of 10/19/24 with the help of both Country Countdown USA, The Billboard Country Music Airplay Charts, & even myself. So let's get started right now.

Number 20 belongs to Post Malone featuring Morgan Wallen who are staying in the same spot as last week - I had some help.

Number 19 belongs to Chris Stapleton who is dropping 1 spot this week - Think I'm in love with you.

Number 18 belongs to Koe Wetzel & Jessie Murph who are new to the list this week - High road.

Number 17 belongs to Zach Top who is moving up 2 spots this week - Sounds like the radio.

Number 16 belongs to Dan + Shay who are staying in the same spot as last week - Bigger houses.

Number 15 belongs to Keith Urban who is staying in the same spot as last week - Messed up as me.

Number 14 belongs to George Birge who is staying in the same spot as last week - Cowboy songs.

Number 13 belongs to Tim McGraw who is dropping 2 spots this week - One bad habit.

Number 12 belongs to Ella Langley featuring Riley Green who are moving up 1 spot this week - You look like you love me.

Number 11 belongs to Thomas Rhett who is moving up 1 spot this week - Beautiful as you.

Number 10 belongs to Dasha who is dropping 2 spots this week - Austin.

Number 9 belongs to Parmalee who are moving up 1 spot this week - Gonna love you.

Number 8 belongs to Morgan Wallen who is moving up 1 spot this week - Lies lies lies.

Number 7 belongs to Luke Combs who is dropping 5 spots this week - Ain't no love in Oklahoma.

Number 6 belongs to Luke Bryan who is dropping 3 spots this week - Love you, miss you, mean it.

Number 5 belongs to Justin Moore who is moving up 2 spots this week - This is my dirt.

Number 4 belongs to Marshmello & Kane Brown who are staying in the same spot as last week - Miles on it.

Number 3 belongs to Jelly Roll who is moving up 2 spots this week - I am not okay.

Number 2 belongs to Shaboozey who is moving up 4 spots this week - A bar song (Tipsy).

Number 1 belongs to Post Malone featuring Blake Shelton who are staying in the top spot for another week - Pour me a drink.

And that's a wrap for the Top 20 Country Music Songs for the week of 10/19/24 with the help of both Country Countdown USA, The Billboard Country Music Airplay Charts, & even myself. Thanks as always goes out to both Country Countdown USA, & the Billboard Country Music Airplay Charts for doing their weekly Country Music Song Countdowns. And thanks as well goes out to you for taking the time to read this weekly list. See ya all next time.

[quordleona03]

Classic Fantasy in English

250 years, 69 books, 48 writers

Gulliver's Travels - Jonathan Swift - 1726

Fairy Tales Told for Children - Hans Christian Andersen - 1835-1863 tr. Mrs. H. B. Paull 1867-1872

The Water-Babies - Charles Kingsley - 1863

Alice in Wonderland/Through The Looking Glass - Lewis Carroll - 1865/1871

Mopsa The Fairy - Jean Ingelow - 1869

At the Back of the North Wind, George MacDonald - 1871

The Princess and the Goblin/The Princess and Curdie - George MacDonald - 1872/1883

The Strange Case of Dr Jekyll and Mr Hyde - R. L. Stevenson - 1886

The Happy Prince and Other Stories - Oscar Wilde - 1888

News from Nowhere - William Morris - 1890

The Book of Dragons - E. Nesbit - 1901

The Just So Stories - Rudyard Kipling - 19021

Peter Pan - J. M. Barrie - 1902-1911

The Enchanted Castle - E. Nesbit - 1907

Puck of Pook's Hill/Rewards and Fairies - Rudyard Kipling - 1906/1910

Lud in the Mist - Hope Mirrlees - 1926

The Midnight Folk - John Masefield - 1927

Dr. Dolittle in the Moon - Hugh Lofting - 1928

Patapoufs et Filifers / Fattypuffs and Thinifers - André Maurois - 1930/tr. Rosemary Benet 1940

The 35th of May, or Conrad's Ride to the South Seas - Erich Kästner - 1931, tr. Cyrus Brooks 1934

Jirel of Joiry - C. L. Moore - 1934-1939

The Tale of the Land of Green Ginger - Noel Langley - 1937

My Friend Mr Leakey - J. B. S. Haldane - 1937

The Hobbit/The Lord of the Rings - J. R. R. Tolkien - 1937-1955

Le Petit Prince / The Little Prince - Antoine de Saint-Exupéry 1943 tr Katherine Woods

The Wind on the Moon - Eric Linklater - 1944

Mistress Masham's Repose - T.H. White - 1946

The Little White Horse - Elizabeth Goudge - 1946

Trollkarlens Hatt / Finn Family Moomintroll - Tove Jansson - 1948 tr. Elizabeth Portch 1950

Nineteen Eighty-Four - George Orwell - 1949

Seven Days in New Crete - Robert Graves - 1949

The Borrowers / Afield / Afloat / Aloft / Avenged - Mary Norton - 1952/1955/1959/1961/1982

All You've Ever Wanted / More Than You Bargained For - Joan Aiken - 1953/1955

To the Chapel Perilous - Naomi Mitchison - 1955

Tom's Midnight Garden - Philippa Pearce - 1958

The Lion, the Witch, and the Wardrobe - C. S. Lewis - 1950

The 13 Clocks - James Thurber - 1950

Round the Bend - Neville Shute - 1951

The Armourer's House - Rosemary Sutcliff - 1951

The Once and Future King - T. H. White - 1938-1958

Candy Floss / Impunity Jane / Miss Happiness and Miss Flower - Rumer Godden 1954 / 1960 / 1961

Sword at Sunset - Rosemary Sutcliff - 1963

Book of Heroes - William Mayne - 1966

Tree and Leaf\Smith of Wootton Major - J. R. R. Tolkien - 1945-1967

The Crystal Cave / The Hollow Hills / The Last Enchantment / The Wicked Day - Mary Stewart 1970-1983

Dragonflight - Anne McCaffrey - 1968

A Wizard of Earthsea / The Tombs of Atuan / The Farthest Shore - Ursula K. Le Guin - 1968/1971/1972

Red Moon and Black Mountain - Joy Chant - 1970

Tom Ass or The Second Gift - Ann Lawrence - 1972

The Dark Is Rising/Greenwitch/The Grey King - Susan Cooper - 1973 / 1974 / 1975

[joojdraws]

Tillman has had enough 💔💔💔

[antinonymous]

[nashmusicguide]

Nashville Music Guide's Artists to Watch 2024

Music today can be discovered in numerous ways, and the number of new artists continues to grow by the day, as does the model of success that leads to notoriety. With the advent of digital platforms, social media, and streaming services, artists have unprecedented avenues to broadcast their talents and reach audiences worldwide. Our Artists to Watch list for 2024 is curated with meticulous…

[flashfuckingflesh]

Entrenched EVIL Sprouts Roots of Hate! "Bunker" reviewed! (Breaking Glass Pictures / DVD)

Go into the “Bunker” and Never Come Out!  Now on DVD! Trench warfare has already been damning for allied forces held in stalemate against the German’s only yards away in their trench.  When the commanding Lt. Turner discovers the German trench has been abandoned, he moves his ragtag team of British and American forces across a barbed wire and cadaver-laden no man’s land in to salvage victory for…

[pejite]

With the arrival of the cold weather, Wilhelmina didn’t dare take George out of the warmth of the house, keeping him indoors, close to her and the heat of the fireplace. George was a child with a weak immune system, he was smaller than his siblings had been at his age and caught colds easily, even without leaving the house.

Wilhelmina didn’t want to risk him catching a more severe cold, knowing full well that the little one might not withstand it.

And so the days passed slowly. Wilhelmina grew accustomed to sitting by the fireplace with George, while the twins played nearby, keeping her company.

[luveline]

Hii! I'm in love with your Hotch adult daughter fics. Could we get one where she is getting bullied in college or where she works and then Hotch finds out somehow and helps her? Please please :)

thanks so much for requesting! fem, 1.2k

He decides to surprise you. He’s at risk of embarrassing himself greatly, and he’s okay with that risk. 

Hotch stands outside of the George Washington University and winces in the hot weather. The sun beats down on the back of his neck. He’s more aware of how little sun protection he uses as the time stretches on, waiting for you, but he doesn’t mind it. He’s worn full suits in the Nevada desert. 

You emerge from the main building where your last class for the day takes place. He dropped you off here last week, got to watch you walk in and say hi to the custodian. It was a nice insight of who you are, someone he’s proud to be the father of though he had little hand in what you’ve become. 

Behind you are two female classmates. 

Hotch pauses under the tree he’d taken refuge by. 

He can’t hear what they’re saying, but he can see the rigidity of your shoulders, your hackles rising as they talk. The brunette gets a nasty look on her face, to which you respond, and the blonde’s volume begins to rise. 

The brunette looks like she might reach for you. “Don’t touch me,” you warn. 

Hotch steps in. 

“Hey, excuse me,” he says, loudly and firmly, the Unit Chief tone in play. He’s gotten very good at raising his voice without shouting. “What’s going on here?”

The two women who were talking to you falter, but the brunette stays fiery. “We’re just talking.” 

“About what?” 

“It’s none of your business.” 

“If you’re going to lay your hands on her, it becomes my business,” he says. 

There’s a guilt to the blonde’s expression that proves you’d been thinking correctly and that she was going to touch you, even if it were only to grab your wrist, but she bristles and denies. “We weren’t.” 

“Then you have no reason to stay.” 

You frown deeply. “No, they can finish. Clearly they think it’s important–”

“But do you think it’s important?” Hotch asks you. 

Your frown, your anger beginning to ebb. You take a breath. “I suppose not.” 

Hotch levels the women with a look. Just a look, not interrogative or heated, but prompting —it’s the kind of look he gives people when he wants them to realise they’ve missed their cue to leave. 

“See you next week, then,” the brunette says, a threat he abhors. 

“I’m sure she will,” he says, hoping anything unsaid is felt. He has no idea who they are or what you’ve apparently done to make them angry, but you won’t be intimidated. 

“Do I need to talk with Dean Langley?” he asks, turning to you as the women walk out of hearing range. 

“Aaron.” You look at him, look like him, not in appearance but the pinch to your brow as you rub the bridge of your nose. “I’m sorry you had to deal with that.” 

“What?” 

“They do it to me every time I’m here.” 

“They do?” 

You sound like it’s a chore. “They think I’m sleeping with our professor.” 

“Why would they think that?” 

“Because ever since I stopped working, my grades are much better, n’ they think I cheated my way there.” 

Oh, of course. Hotch tries to do something good by you —he’s started giving you a little chunk of money every week so you don’t have to work anymore, nothing obsequious but enough to cover everything you need, rent and food and transportation, clothes, textbooks, and he made it clear you can ask for more— and it makes things worse for you instead. Still, “Your grades are improving?” 

“I’m doing pretty well,” you confess shyly. 

He holds your shoulder. “I’m sorry they’re jealous, and I’m sorry they’re inventing a narrative to cope. I really can speak with Dean Langley if you need me to.” 

You smile and let yourself lean into his touch. “Inventing a narrative to cope,” you repeat. “That’s a good one. I’ll use that one.” 

You have more fight in you, it seems. “If it gets too much, just let me know. You don’t have to entertain their delusion.” 

“I’ll use that one, too.” 

He laughs, hand sliding behind your back to hug you from the side, his nose briefly pressing to your temple before he gives you space again. “I was hoping I’d catch you on your way out, are you busy? Let me take you to dinner, celebrate your performance.” 

“You realise I wouldn’t have improved without your help?” you ask. 

“I think any parent in my position should provide for their kid,” he says easily. “It’s not help. Not everyone can support their children through college, but I can, and I wish I had been from the start.” 

“You don’t owe me anything,” you say. 

He nudges you into a walk toward his car. “I owe you more than you realise.” 

He takes you to an early dinner, and celebrates your improving grades with the dessert of your choosing. Conversation with you can sometimes feel strange. It’s hard to think you were a kid once and he’d never met you, but then he realises how young twenty two really is, how you’re still willing, longing for him to be a father to you. You’re smug that he’d go to the dean to for you. You like that he stepped in. And you love being doted on, being encouraged. He can see that easily. 

“When can I come back to see Jack?” you ask eventually. 

He wishes he could say whenever you like, but he has a hard time following Haley’s movements. “I’ll ask. Soon, I promise.”

“He took great care of me.” 

The last time you’d stayed over, Jack acted like you were the best thing since sliced bread (which you are, in Hotch’s eyes). 

“You know, he had a little trouble with bullies last year.” 

“They aren’t bullies,” you say, taking a bashful bite of your ice cream. 

“No, of course not. But he’ll understand, if you want to tell him about it.”

“Aaron, he’s five.” 

“He’s six,” he corrects. 

“Oh, sorry. But still, I don’t think Jack wants to deal with that. I couldn’t unload on him, he’s my… you know, he’s my little brother.” 

“Then tell me about it, at least.” 

“You saw the most of it.” 

He sighs. Wishes you’d call him dad, understands why you don’t, and can’t think of what to do. It was easier when Jack had trouble, because little kids bully each other almost on accident. They don’t know what they’re doing is wrong, having learned the behaviour from their parents. It’s almost never personal. 

Your situation is not the same. 

“I’ll talk to the dean,” he suggests again. 

“Don’t bother. It’s alright. And if it gets worse, I’ll tell you.” 

He smiles, reaching over plates to squeeze your hand briefly. “Thank you.” 

You look down at your food. Some shyness to you still at being cared about. “Thank you,” you mumble. 

[adamwatchesmovies]

Scrooge (1951)

You know Charles Dickens’s A Christmas Carol. It’s been adapted many times. If you can only include one adaptation in your holiday marathon, which one should you choose? My pick would be the 1951 version. You’ll have to do some research to find a properly restored version but no film has ever portrayed the legendary Ebenezer Scrooge as well as this one.

On Christmas Eve, money lender Ebenezer Scrooge (Alastair Sim) dismisses all warm sentiments. He wants nothing to do with his nephew, Fred (Brian Worth), refuses to give to the poor, and only reluctantly agrees to give his poor clerk Bob Cratchit (Mervyn Johns) Christmas Day off. Once home, the spirit of his former partner, Jacob Marley (Michael Corden), appears. The ghost warns Scrooge that his current behavior will damn him forever unless he changes his ways. To convince him, the spirits of Christmas Past (Michael Dolan), Present (Francis de Wolff) and Yet to Come (Cselaw Konarski) come to his door.

Besides the black-and-white photography, what distinguishes this interpretation is its darkness. We’re accustomed to seeing A Christmas Carol rendered with puppets, cartoon animals or sitcom casts but this is a scary story. The black-and-white cinematography adds mood to a tale of ghosts, eternal damnation, and haunting visions. It's frightening, particularly when Marley’s ghost shows Scrooge what fate awaits him. We see thousands of impotent phantoms roaming the earth, lamenting and screeching in a vain attempt to undo the wrongs they did in life. For a film made in 1951, the extensive special effects are impressive.

It’s a timeless tale that still rings true today and aside from the muddy sound and scratchy picture that may accompany lousy prints, this picture has aged remarkably well. Sim is a delight as Scrooge. He’s so cheap, so stubborn he refuses to acknowledge the obvious if it doesn’t suit him. This humor balances the gloom well and gives the story its trademark emotional highs and lows as we dig into the drama of this story. Through Scrooge's journey, we come to understand what made him the person he is today. No one watching could be as greedy as he is but try as you might to distance yourself from the miserable miser who declares Christmas to be humbug, you can't help but see a piece of you in him. If he can be saved, then anyone can be. It means there’s hope and hope is the essential sentiment at the heart of the Christmas season.

To a certain extent, everything that’s good about this adaptation can be found in another version of the story… except Alistair Sim, who brings the classic literary character to life like no one else. He’s funny, he’s loathsome and his performance is what makes this picture by Brian Desmond Hurst truly great. He nails it so perfectly, particularly in the film’s final scenes. On his own, he ensures the picture will imprint itself permanently into your head.

There are many different ways to see Charles Dickens's A Christmas Carol. Before you check out more recent adaptations, see this one. The 1951 adaptation of Scrooge is the benchmark from which you’ll judge all other tellings of this story. (On Blu-ray, December 22, 2019)

[waterandsilver]

like

grrm writing his child characters: and i'll add a little princes in the tower coding, for spice,

[midnight-star-world]

10-19-24 Country Countdown USA

#CountryMusic

So today I will be bringing the Top 20 Country Music Songs for the week of 10/19/24 from the Country Countdown USA. So let's get started right now.

Number 20 belongs to Koe Wetzel & Jessie Murph who are new to the list this week - High road.

Number 19 belongs to Riley Green who is moving up 1 spot this week - Damn good day to leave.

Number 18 belongs to Tucker Wetmore who is moving up 1 spot this week - Wind up missin' you.

Number 17 belongs to Chris Stapleton who is moving up 1 spot this week - Think I'm in love with you.

Number 16 belongs to Zach Top who is moving up 1 spot this week - Sounds like the radio.

Number 15 belongs to Dan + Shay who are moving up 1 spot this week - Bigger houses.

Number 14 belongs to Keith Urban who is staying in the same spot as last week - Messed up as me.

Number 13 belongs to George Birge who is staying in the same spot as last week - Cowboy songs.

Number 12 belongs to Ella Langley featuring Riley Green who are moving up 3 spots this week - You look like you love me.

Number 11 belongs to Tim McGraw who is staying in the same spot as last week - One bad habit.

Number 10 belongs to Thomas Rhett who is moving up 2 spots this week - Beautiful as you.

Number 9 belongs to Dasha who is dropping 1 spot this week - Austin.

Number 8 belongs to Parmalee who are moving up 2 spots this week - Gonna love you.

Number 7 belongs to Morgan Wallen who is moving up 2 spots this week - Lies lies lies.

Number 6 belongs to Luke Combs who is dropping 5 spots this week - Ain't no love in Oklahoma.

Number 5 belongs to Justin Moore who is moving up 1 spot this week - This is my dirt.

Number 4 belongs to Marshmello & Kane Brown who are staying in the same spot as last week - Miles on it.

Number 3 belongs to Jelly Roll who is moving up 2 spots this week - I am not okay.

Number 2 belongs to Post Malone featuring Blake Shelton who are staying in the same spot as last week - Pour me a drink.

Number 1 belongs to Luke Bryan who is moving up 2 spots this week to take the top - Love you, miss you, mean it.

And that's a wrap for the Top 20 Country Music Songs for the week of 10/19/24 from the Country Countdown USA. Thanks as always goes out to Country Countdown USA for doing their weekly Country Music Countdowns. And thanks as well goes out to you for taking the time to read this weekly list. See ya all next time.

[lonestarflight]

"Photograph showing a one-third scaled model of the Saturn I Block II launch vehicle. Ground wind investigations form an indispensible part of the painstaking research program that lies behind successful flights of launch vehicles of all sizes, and the National Aeronautics And Space Administration Langley Research Center has specialized in such wind-tunnel studies for many years. Here, in a cooperative program with the George C. Marshall Space Flight Center, is an installation in Langley's Transonic Dynamics Tunnel of an aero-elastically scaled model of the Saturn I Block II launch vehicle with the Apollo spacecraft and its escape system. It is mounted on a turntable with the umbilical tower so that it can be rotated to receive the force of the wind stream from any direction. Before wind tunnel tests begin, the model is shaken mechanically to determine its vibration characteristics. Surface winds cause steady oscillatory deflection of free-standing launch vehicles which must be thoroughly understood to overcome problems in structural strength, guidance alignment, and instrument checkout. Wind-tunnel test results guide the design of launch pedestals to assure ample strength for any surface wind conditions."

97-732