#popular mechanics magazine

[stone-cold-groove]

Popular Mechanics Magazine - March 1930.

[moviepropscollection]

[spaceintruderdetector]

Revista Stiinta Si Tehnica : Free Download, Borrow, and Streaming : Internet Archive

[monkeyssalad-blog]

1950 illustration from Popular Mechanics by totallymystified

[misforgotten2]

“I didn’t even take a shot, it just laughed itself to death.”

[purasvagancias]

1959 ... traffic jam to nowhere! por James Vaughan Por Flickr: artist- Thorton Utz

[memeticallyengineered]

i think he'd like it

[adtothebone]

Popular Mechanics - May 1934

[dijidweeeb]

Popular Mechanics Magazine, July 1933

[mrestilo]

a feast for the eyes por James Vaughan

[kiwiikato]

mommy’s here // ken sato x reader

Chapter Seven

warning: suggestive names??? slight boss bitch reader (dom) BUT FOR LIKE A TEENY TINY BIT 0.o NO MATURE CONTENT HERE…. unless??

masterlist

kenji wakes up during the night, groggy from the lack of a full nights rest in the many days that he's been taking care of the baby kaiju with you. and this being another one of those days.

he woke up to tapping on his face, opening his eyes to meet with mina who had a little mechanical hand tap at his chiseled cheek. "ken, the baby is awake. she is not calming down to videos or pictures of you and y/n. she needs you." mina 'whispers', trying her best to not wake you up in the process.

ken could only groan but not his head to which nina floats back downstairs. he turns to see you cuddled up next to him, one of your hands around lazily around him as the other one lays on the pillow above you.

ken slowly moves away, trying his best to not wake you up out of sympathy for the slight eye bags that your eyes adorned. he gently pulls your hand off his frame, laying it back onto the bed as he gets up. noticing your frog plush on the floor, he picks it up, dusting it off as he places it against your chest for you to hug in the time he is gone.

slowly stepping out of the room, he makes his way down the hallway. it isn't long before he's in the elevator going down to where the baby kaiju and mina now were, with the baby crying.

he walks up, instantly making her jump as she sniffled, he clapped his hands in a jingle as he transformed into ultraman. reaching into the containment unit, he pulls her out, resting her on his chest. he rubs her back, slowly tapping it to make her feel better.

it wasn't that long till she burped, a bit of saliva coming out of her mouth to which he groaned to, but chose to ignore in the time. it's been so long that he's been taking care of her with you, that he could tell when she just needed a good burp before going back to sleep.

but she didn't go to sleep. she stayed awake as she babbled from being placed back into the containment unit. she whined for him but kenji was too tired, tired from the lack of sleep and the events of the previous day. "mina, turn the videos on please." he mumbled as he walked away.

the videos worked as the baby happily watched, cheering occasionally at the clips of her dad playing baseball. kenji moved towards the couch he had in the room near them, throwing himself down.

mina floated to him, worried for his health and the events that happened to him a couple hours ago. "a simulated therapy session perhaps? i have several in my database." he looked at her aggravated, tired from everything. "really?" "maybe call someone? a friend?" mina insisted.

"yeah, wish i had one of those." he said as his slammed against the cooler cabinet under his seat. "you have friends. y/n is a friend." mina said as he fought the cabinet.

his calf slammed against it, making him wince as he fell down. he grunted but looked at mina, while grabbing the ultraman figure nearby him. "y/n isn't just a friend. she's my co-parent, like my partner in crime... well saving." he said as he ran his hand through his hair.

mina nodded, letting him be. kenji sat, his thoughts consuming him as he thought about what he could do. what could he do? he didn't really talk to anyone. he was popular but being a hero meant having to be distant with people. who could he call? then it hit him. he searched for his phone in his pocket, until he found their number.

▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄

a phone rang in a cozy themed room. a hand dived into the piles of magazines of famous athlete ken sato. "whoooo!" a cheerful child ran through the room as their mother answered. "hey settle down. hello?" she whispered as she put the phone to her ear.

"ami, it's ken. ken sato." the receivers eyes widened through her circular glasses at the call. "um, mr. sato. hi!" she enthusiastically responded at the call. "look, if this is about my comments, i can only judge you on what i see. if you want to set the record straight-"

she was cut off. "can we just chat? like, off the record?" ken's hand ran through his hair as he spoke, staring at the figure in his hand. on the other hand, a mother dealt with her child who ran around the room. "whoo! schuwatch! take that gazoto!"

she stared at her child as she sat on the couch. "i'm really busy right now... put that down!" she cut herself off, yelling at her child. ken stared ahead, his eyes widening slightly as the child yelled "boom! scatter drones!" whole throwing toy pieces up into the air.

"it's just... you're the only person who'll talk to me." his head flashed to the idea of y/n who laid asleep in the room above, knowing he couldn't ask her for advice as the both of them were struggling to take care of the baby kaiju.

"i'll make you a deal. i'll give you five minutes. but you have to give me a follow-up. a real interview this time." ami spoke into the phone as ken cheered, happy to have someone to talk to. "done. whatever you want!" he said smiling.

"okay, we are off the record." ami said.in that moment, the baby kaiju cried, sad that the videos of her ken were finished. "please mina, keep her busy." ken hurriedly whispered to mina, while pulling the phone away from his ear.

the baby's crying was cut short, but not early enough as you had found yourself waking up to it. you turned to see that you were the only one in the bed now, giving off an empty feeling. it felt weird, to grow so close to someone, only to unexpectedly loose that warmth over night. you shook your thoughts away, knowing you were only being dramatic in that moment from being tired.

getting out of bed with a creak, you exited the room, making your way to where your baby kaiju was. her crying was no more but you still wanted to make sure she was okay, especially since you had grown a fondness for her.

the doors to the elevator opened, showing her happily watching videos of kenji playing baseball. it was an absolutely adorable sight as you walked to her. your eyes drifted off to see kenji, awake, with his phone pressed against his ear from a distance. you waved at him, giving him a soft smile as he waved back, only to then point at his phone and then put his hand in front of you like a stop sign.

the hand signs were choppy but you understood that he was on the phone and wanted you to wait a bit before he went over there. you turned back to your unofficial official baby, seeing her coo. kenji watched from afar, a soft smile on his lips, slowly brought back to reality.

"ken, you still there?" "yep! i'm still here, im here," he sighed, "so what's the secret? how do you do it? juggle everything. your job, your kid?" he said going back into a more serious mode. don't you ever just want to jump out a window?" his voice rang through emi's ears as she watched her daughter play on the wall, doing a supported handstand, only to cartwheel into the room near it.

"ken, do you have a secret love child? because that would be a story!" ami spoke hushed with her hand cupping over her mouth. her eyes widened, excited at the idea like a middle school gossiping with her friends again over a new crush.

kenji on the other line nervous chuckled, scared to be caught in a sense. "ha ha nooo. just, uh, curious." her said trying to play it off. ami smiled, a small laugh leaving her lips.

"honestly, it's not easy, ken. they're like little monsters sometimes." ken smiled at the irony of his baby being a little monster, a kaiju to be precise. ami's daughter tumbled to the floor, a small 'mama' emitting from her lips in a cry, as she rushed over to ami to hold her. she laid her head on her lap, whining from the pain.

"but they can surprise you too. they have hearts and minds of their own. they're trying to discover who they are and what they want. and the only support they have, is us. imperfect, messed up us, dealing with our own issues, trying to figure out who the heck we are."

kenji stared at his baby kaiju who cooed at the videos of him, watching as you and her both playfully swung your hands with a bat motion. a soft smile came to his lips as ami's words rang through his head.

"and you know what? that's the beauty of it. i look at my daughter sometimes and think that i'm learning as much from her as she is from me." the baby kaiju swung back and forth, making sounds of joy as kenji's eyes widened, his phone in his hand moving down in awe. "amazing."

"yep, they sure are." ami responded, unaware of the thoughts that flew through ken's head. he rose from his seat, walking to mina as he whispered. "lower the containment unit." and so it did as it slowly went into the ground, leaving the baby out to the open.

your eyes snapped towards kenji walking to you both, confused and unaware of the revelation he was experiencing. the baby kaiju cooed, confused by stared at her dad with curiosity.

"and before you know it, she won't be interested in toys anymore and your heart will break. i'm sure you have no idea what i'm talking about ken." but he did, and it made him happy. he ran to the side, pulling out a giant kids baseball bat. it was colorful blue. he handed it to the baby kaiju, making her jump as she help it in her claws.

"ken? ken? and your five minutes is up. you gonna honor your part of the deal?" ami spoke, her voice echoing from his phone against his ear, practicing bat hits as the baby mimicked. you smiled seeing them play, deciding to join their side.

"oh uh uhm yeah yeah. tomorrow night?" ken responded distracted as he watched you jump with the baby. "oh uh sure." ami responded shocked at the sudden time. "great. tonkatsu tonki. 7:00? bye." he hung the phone up instantly, playing with the baby still as he shoved his phone in his pocket.

kenji turned to you, happy at the sight in front of him. "y/n! do you see this? she's copying me!" he said childishly excited as he ran over to you, leaving mina to play with her. "i see it, she want to be just like you." you said teasing him as he gave you a toothy smile. "yeah, she wants to be like me..." his words were hushed to himself, almost like he couldn't believe that he had became a role model.

a figure of imitation. he was now someone that a baby looked up to. he was like a dad. he's a dad now. his eyes swelled up slightly, almost like he was holding back tears as he rubbed at his eyes. you chuckled at his emotional reaction. "aww don't cry, i thought she was supposed to be the baby, hmm~"

his cheeks flushed red as he pouted at your teasing. "well maybe i want to be your baby..." he whispered softly, but yet you still heard him. almost like a chain reaction, you blushed making him blush more. "oh-" you said stunned, shocked even. "i don't mind-" you said with a sort of newfound confidence, only it didn't last long.

almost like a switch flicked in him, his head snapped to you in shock. his shy expression changed into a smirk as he wiggled his eyebrows at you. "oh really, huh? you wanna call me baby, don't you?" he said, his voice was husk as he teased you.

he boldly strutted to you, getting rid of the distance that separated the both of you as he now stood behind you, his body towering over you as his leaned down to your head. "you wanna call me baby, y/n? i think i'd prefer if you'd call me daddy." he voice was smooth, sweet and seductive all at once.

your skin heated from the emotions you felt, almost lime you could pass out in that second. "so? hm?" kenji was like whiplash, so sweet and gentle one second, than childish and silly, to a whole 180 as he switched to seductive and bold out of nowhere.

it was then that his words flashed through your head. "call you daddy huh? seems like someone else wants it more, don't you think?" you said as you turned around and pressed a finger against his chest, hooking it into his shirt roughly. he could only gulp, turning back into the shy and sweet kenji you were used to.

"oh! would you uh look at that- she's using the bat!" kenji nervously ran from you with his face red, hiding his face with his blue cap. you laughed at his reaction, smiling and trailing behind him as he faced mina.

"uhm mina, load up a park. maybe start her out with one of the older simulations." he said, acting as though nothing happened earlier. mina listened to him as you stood next to them both, watching g as the once dark, black-like room turned into a children's baseball park. it felt homey and cute, you couldn't help but relish in the sweet feeling.

you heard cheering to the side, noticing a holograph of a women show up. you recognized her, it was kenji's mom. you remembered those days where professor sato would ramble to you all the sweet little stories they went through as he searched for her after suddenly disappearing.

you couldn't help but frown at the idea but shook it off hering kenji praise mina. "nice touch mina." he said softly, running to the base in the middle, getting ready to play a game of baseball with the sweet baby kaiju you both grew to love.

note: a/n! i'm sorry if the chapter seems rushed, i just wanted to get one out to you all so you all won't have to wait that long :( ALSO FBNABDSJ THE WHOLE DADDY AND THEN SLIGHT DOMINANT READER - that's on me y'all, it's the voices in my head 👹 so i guess it's a teeny bit 'mature' but well, who doesn't mind some fan service >:3 also i won't be posting till after june 29 since i will be busy that whole day so i hope u all understand <3 I PROMISE U ALL THE WAIT WILL BE WORTH IT!!! trust me >:3

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[the70s80sand90s]

[fuckyeahgoodomens]

The Radio Times magazine from the 29 July-04 August 2023 :)

THE SECOND COMING

How did Terry Pratchett and Neil gaiman overcome the small matter of Pratchett's death to make another series of their acclaimed divine comedy?

For all the dead authors in the world,” legendary comedy producer John Lloyd once said, “Terry Pratchett is the most alive.” And he’s right. Sir Terry is having an extremely busy 2023… for someone who died in 2015.

This week sees the release of Good Omens 2, the second series of Amazon’s fantasy comedy drama based on the cult novel Pratchett co-wrote with Neil Gaiman in the late 1980s. This will be followed in the autumn by a new spin-off book from Pratchett’s Discworld series, Tiffany Aching’s Guide to Being a Witch, co-written by Pratchett’s daughter Rhianna and children’s author Gabrielle Kent. The same month, we’ll also get A Stroke of the Pen, a collection of “lost” short stories written by Sir Terry for local newspapers in the 70s and 80s and recently rediscovered. Clearly, while there are no more books coming from Pratchett – a hard drive containing all drafts and unpublished work was crushed by a vintage steamroller shortly after the author’s death, as per his specific wishes – people still want to visit his vivid and addictive worlds in new ways.

Good Omens 2 will be the first test of how this can work. The original book started life as a 5,000-word short story by Gaiman, titled William the Antichrist and envisioned as a bit of a mashup of Richmal Crompton’s Just William books and the 70s horror classic The Omen. What would happen, Gaiman had mused, if the spawn of Satan had been raised, not by a powerful American diplomat, but by an extremely normal couple in an idyllic English village, far from the influence of hellish forces? He’d sent the first draft to bestselling fantasy author Pratchett, a friend of many years, and then forgotten about it as he busied himself with continuing to write his massively popular comic books, including Violent Cases, Black Orchid and The Sandman, which became a Netflix series last year.

Pratchett loved the idea, offering to either buy the concept from Gaiman or co-write it. It was, as Gaiman later said, “like Michelangelo phoning and asking if you want to paint a ceiling” The pair worked on the book together from that point on, rewriting each other as they went and communicating via long phone calls and mailed floppy discs. “The actual mechanics worked like this: I would do a bit, then Neil would take it away and do a bit more and give it back to me,” Pratchett told Locus magazine in 1991. “We’d mess about with each other’s bits and pieces.”

Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch – to give it its full title –was published in 1990 to huge acclaim. It was one of, astonishingly, five Terry Pratchett novels to be published that year (he averaged two a year, including 41 Discworld novels and many other standalone works and collaborations).

It was also, clearly, extremely filmable, and studios came knocking — though getting it made took a while. rnvo decades on from its writing, four years after Pratchett's death from Alzheimer's disease aged 66, and after several doomed attempts to get a movie version off the ground, Good Omens finally made it to TV screens in 2019, scripted and show-run by Gaiman himself. "Terry was egging me on to make it into television. He knew he was dying, and he knew that I wouldn't start it without him," Gaiman revealed in a 2019 Radio Times interview. Amazon and the BBC co-produced with Pratchett's company Narrativia and Gaiman's Blank Corporation production studios, with Michael Sheen and David Tennant cast in the central roles of Aziraphale the angel and Crowley the demon. The show was a hit, not just with fans of its two creators, but with a whole new young audience, many of whom had no interest in Discworld or Sandman. Social media networks like Tumblr and TikTok were soon awash with cosplay, artwork and fan fiction. The original novel became, for the first time, a New York Times bestseller.

A follow up was, on one level, a no-brainer. The world Pratchett and Gaiman had created was vivid, funny and accessible, and Tennant and Sheen had found an intriguing romantic spark in their chemistry not present in the novel.

There was, however, a huge problem. There wasn't a second Good Omens book to base it on. But there was the ghost of an idea.

In 1989, after the book had been sold but before it had come out, the two authors had laid on fivin beds in a hotel room at a convention in Seattle and, jet-lagged and unable to sleep, plotted out, in some detail, what would happen in a sequel, provisionally titled 668, The II Neighbour of the Beast.

"It was a good one, too" Gaiman wrote in a 2021 blog. "We fully intended to write it, whenever we next had three or four months free. Only I went to live in America and Terry stayed in the UK, and after Good Omens was published, Sandman became SANDMAN and Discworld became DISCWORLD(TM) and there wasn't a good time."

Back in 1991, Pratchett elaborated, "We even know some of the main characters in it. But there's a huge difference between sitting there chatting away, saying, 'Hey, we could do this, we could do that,' and actually physically getting down and doing it all again." In 2019, Gaiman pillaged some of those ideas for Good Omens series one (for example, its final episode wasn't in the book at all), and had left enough threads dangling to give him an opening for a sequel. This is the well he's returned to for Good Omens 2, co-writing with comic John Finnemore - drafted in, presumably, to plug the gap left Pratchett's unparalleled comedic mind. No small task.

Projects like Good Omens 2 are an important proving ground for Pratchett's legacy: can the universes he conjured endure without their creator? And can they stay true to his spirit? Sir Terry was famously protective of his creations, and there have been remarkably few adaptations of his work considering how prolific he was. "What would be in it for me?" he asked in 2003. "Money? I've got money."

He wanted his work treated reverently and not butchered for the screen. It's why Good Omens and projects like Tiffany Aching's Guide to Being a Witch are made with trusted members of the inner circle like Neil Gaiman and Rhianna Pratchett at the helm. It's also why the author's estate, run by Pratchett's former assistant and business manager Rob Wilkins, keeps a tight rein on any licensed Pratchett material — it's a multi-million dollar media empire still run like a cottage industry.

And that's heartening. Anyone who saw BBC America's panned 2021 Pratchett adaptation The Watch will know how badly these things can go when a studio is allowed to run amok with the material without oversight. These stories deserve to be told, and these worlds deserve to be explored — properly. And there are, apparently, many plans afoot for more Pratchett on the screen. You can only hope that, somewhere, he'll be proud of the results.

After all, as he wrote himself, "No one is finally dead until the ripples they cause in the world die away, until the clock wound up winds down, until the wine she made has finished its ferment, until the crop they planted is harvested. The span of someone's life is only the core of their actual existence."

While those ripples continue to spread, Sir Terry Pratchett remains very much alive. MARC BURROWS

DIVINE DUO

An angel and a demon walk into a pub... Michael Sheen and David Tennant on family, friendship and Morecambe & Wise

Outside it's cold winter's day and we're in a Scottish studio, somewhere between Edinburgh and Glasgow. But inside it's lunchtime in The Dirty Donkey pub in the heart of London, with both Michael Sheen and David Tennant surveying the scene appreciatively. "This is a great pub," says Sheen eagerly, while Tennant calls it "the best Soho there can be. A slightly heightened, immaculate, perfect, dreamy Soho."

Here, a painting of the absent landlord — the late Terry Pratchett, co-creator, with Neil Gaiman, of the series' source novel — looms over punters. Around the corner is AZ Fell and Co Antiquarian and Unusual Books. It's the bookshop owned by Sheen's character, the angel Aziraphale, and the place to where Tennant's demon Crowley is inevitably drawn.

It's day 74 of an 80-day shoot for a series that no one, least of all the leading actors, ever thought would happen, due to the fact that Pratchett and Gaiman hadn't ever published any sequel to their 1990 fantasy satire. Tennant explains, "What we didn't know was that Neil and Terry had had plots and plans..."

Still, lots of good things are in Good Omens 2, which expands on the millennia-spanning multiverse of the first series. These include a surprisingly naked side of John Hamm, and roles for both Tennant's father-in-law (Peter Davison) and 21-year-old son Ty. At its heart, though, remains the brilliant banter between the two leading men — as Sheen puts it, "very Eric and Ernie !" — whose chemistry on the first series led to one of the more surprising saviours of lockdown telly.

Good Omens is back — but you've worked together a lot in the meantime. Was there a connective tissue between series one of Good Omens and Staged, your lockdown sitcom?

David: Only in as much as the first series went out, then a few months later, we were all locked in our houses. And because of the work we'd done on Good Omens, it occurred that we might do something else. I mean, Neil Gaiman takes full responsibility for Staged. Which, to some extent, he's probably right to do!

Michael: We've got to know each other through doing this. Our lives have gotten more entwined in all kinds of ways — we have children who've now become friends, and our families know each other.

There have been hints of a romantic storyline between the two characters. How much of an undercurrent is that in this series.

David: Nothing's explicit.

Michael: I felt from the very beginning that part of what would be interesting to explore is that Aziraphale is a character, a being, who just loves. How does that manifest itself in a very specific relationship with another being? Inevitably, as there is with everything in this story, there's a grey area. The fact that people see potentially a "romantic relationship", I thought that was interesting and something to explore.

There was a petition to have the first series banned because of its irreverent take on Christian tropes. Series two digs even more deeply into the Bible with the story of Job. How much of a badge of honour is it that the show riles the people who like to ban things?

David: It's not an irreligious show at all. It's actually very respectful of the structure of that sort of religious belief. The idea that it promotes Satanism [is nonsense]. None of the characters from hell are to be aspired to at all! They're a dreadful bunch of non-entities. People are very keen to be offended, aren't they? They're often looking for something to glom on to without possibly really examining what they think they're complaining about.

Michael, you're known as an activist, and you're in the middle of Making BBC drama The Way, which "taps into the social and political chaos of today's world". Is it important for you to use your plaform to discuss causes you believe in?

Michael: The Way is not a political tract, it's just set in the area that I come from. But it has to matter to you, doesn't it? More and more as I get older, [I find] it can be a real slog doing this stuff. You've got to enjoy it. And if it doesn't matter to you, then it's just going to be depressing.

David, Michael has declared himself a "not-for-profit" actor. Has he tried to persuade you to give up all your money too?

David: What an extraordinary question! One is always aware that one has a certain responsibility if one is fortunate and gets to do a job that often doesn't feel like a job. You want to do your bit whenever you can. But at the same time, I'm an actor. I'm not about to give that up to go into politics or anything. But I'll do what I can from where I live.

Well, your son and your father-in-law are also starring in this series. How about that, jobs for the boys!

David: I know! It was a delight to get to be on set with them. And certainly an unexpected one for me. Neil, on two occasions, got to bowl up to me and say, "Guess who we've cast?!"

How do you feel about your US peers going on strike?

David: It's happening because there are issues that need to be addressed. Nobody's doing this lightly. These are important issues, and they've got to be sorted out for the future of our industry. There's this idea that writers and actors are all living high on the hog. For huge swathes of our industry, that's just not the case. These people have got to be protected.

Michael: We have to be really careful that things don't slide back to the way they were pre the 1950s, when the stories that we told were all coming from one point of view and the stories of certain people, or communities within our society, weren't represented. There's a sense that now that's changed for ever and it'll never go back. But you worry when people can't afford to have the opportunities that other people have. We don't want the story that we tell about ourselves to be myopic. You want it to be as inclusive as possible

Staged series 3 recently broadcast. It felt like the show's last hurrah — or is there more mileage? Sheen and Tennant go on holiday?

David: That's the Christmas special! One Foot in the Algarve! On the Buses Go to Spain!

Michael: I don't think we were thinking beyond three, were we?

So is it time for a conscious uncoupling for you two — Eric and Ernie say goodbye?

David: Oh, never say never, will we?

Michael: And it's more Hinge and Bracket.

David: Maybe that's what we do next — The Hinge and Bracket Story. CRAIG McLEAN

[evan-collins90]

McDonald's Embarcadero Center (1975) - designed by the firm, Environmental Planning & Research

"The recently opened McDonald's in San Francisco's Embarcadero Center is a complete departure from the usual gold-arches-suburban-drive-in image usually associated with one of America's most popular chains of fast-food restaurants.

Although the design solution provides an entirely new look for the restaurant, it still meets McDonald's specified requirements of non-movable furnishings, fast turnover, flexible seating patterns and pre-established seating/circulation/equipment relationships. In addition, it stayed within the given budget and was completed at a cost of $22.00 a square foot, excluding kitchen.

A total environment was created using specially treated elm wood in a single color tone for walls, floor, ceiling and seating benches. Color accents come from green plants and burnt orange table tops.

Seating for 155 is provided by free-standing benches or wall banquettes which run continuously around the dining area forming seating clusters to accommodate from one to ten people. Tables rest on floor-attached pedestals, and the benches have fully tiled bases making floor maintenance easier. The burnt orange table tops are of a resin material which is heat resistant and easy to clean. To conceal McDonald's standard 24-inch square trash receptacles (18 in all), the designers created architectural forms which also serve as planters.

Of special interest is the ceiling and lighting treatment which is an integral part of the overall design and reflects the restaurant's seating patterns. It also provides variations in light levels; helps absorb sound; and houses heavy mechanical equipment."

Scanned from the Sept. 1975 issue of Interior Design Magazine

[monkeyssalad-blog]

1955--Canada Dry-rescue by James Vaughan Via Flickr: permission of- www.flickr.com/photos/leifpeng/

[marley-manson]

Hawkeye and Frank are the two most diametrically opposed characters on Mash. They clash politically, ideologically, emotionally, intellectually, and even physically on more than one occasion. There is virtually nothing they agree on. But they do have one significant similarity: both Hawkeye and Frank are notably, pointedly effeminate.

Hawkeye is the central protagonist, so he's written to be likeable, even admirable, especially in the first five seasons of the show when satire dominated rather than character drama. He's the character who makes the correct political points and voices the show's ideology, and male audience members are encouraged to identify with him and aspire to be like him. He's witty, he's smart, he's charismatic, he dodges consequences a lot, he's highly skilled in his work, and he has a strong personality and natural leadership qualities.

Frank is the main antagonist up until the end of season five. He's written for audiences to hate him, mock him, and occasionally be horrified by him. He's dull-witted, incompetent, awkward, easily led and manipulated, and always gets his comeuppance. Few audience members are likely to aspire to be more like Frank Burns.

And yet, while most likeable protagonist/detestable antagonist duos in American popular media would also be differentiated in terms of gender performance as a matter of course - the effeminate villain being a standard stock character, always set against a ruggedly masculine hero - Mash takes a different approach.

From his core personality as a sniveling, weak-willed follower, to the way other characters, including Hawkeye, routinely make fun of him by comparing him to a woman or insinuating that he's gay, Frank Burns certainly fits the part of weak, emasculated villain. What's more interesting, and much less commonly seen in Hollywood media, is that Hawkeye is portrayed as just as unmanly, and just as, if not more prone to having it pointed out in the show.

Often Hawkeye's jokes at Frank's expense include the implication that Hawkeye is attracted to him himself, and not necessarily as "the man." He jokes, "Guess it's a marriage, Frank. I know I can do better, but at my age, can I wait?" in Hawkeye, Get Your Gun; he switches from calling Frank one of his vampire brides to taking the feminine part in post-coital pillow talk after siphoning his blood in Germ Warfare; he kisses or tells Frank to kiss him in Major Fred C. Dobbs, For the Good of the Outfit, and Bulletin Board, etc.

Other times, the jokes Hawkeye makes about himself are virtually identical to the jokes made at Frank's expense - their respective attractions to Margaret as a potentially dominant sexual partner, eg, with both Frank and Hawkeye portrayed as eagerly submissive. For instance, in 5 O'Clock Charlie Hawkeye jokes about tying Frank to Margaret's tent, then dismisses the thought with, "He'd probably love it. I know I would." And Hawkeye/Trapper and Frank/Margaret are sometimes paralleled as dual couples, Hawkeye and Frank usually being framed as the more feminine partner in each.

And of course, unconnected to Frank, there are many, many more examples of Hawkeye's effeminacy, both in jokes and in personality traits.

Hawkeye is a self-professed coward who is loud and proud about how terrified he is to be stuck in a war zone. He's emotionally open and highly empathetic, always willing to listen to others' problems and discuss (or scream about) his own. He abhors institutional violence and faces every enemy combatant with his hands firmly in the air. When authority is thrust upon him he strives to relinquish it, and uses it as little as possible.

More shallowly, he has little interest in sports and exercise, derides masculine hobby magazines like Field and Stream and Popular Mechanics, is incapable of performing mechanical tasks to the exasperation of others at least four times (Comrades in Arms which explicitly frames this emasculating, In Love and War, Patent 4077, and Hey, Look Me Over), mocks traditional masculinity in many ways, and enjoys musical theatre and Hollywood gossip. And he makes and takes literally hundreds of jokes about being unmanly and having sex with men himself, many more than he makes at Frank's expense.

But while the jokes are at Frank's expense and meant to belittle him, they're rarely made at Hawkeye's expense, especially in the first five seasons. Hawkeye doesn't make the jokes out of self-deprecation, he makes them out of pride and a desire to differentiate himself from the army men he's surrounded by. He's almost always in on the jokes others make about him, rather than offended - Potter telling him to file a paternity suit against his rival in Hepatitis makes him laugh delightedly, and Trapper's remarks on his effeminacy, such as Miz Hawkeye in Hot Lips and Empty Arms, are sometimes lightly teasing but always a regular aspect of their dynamic that Hawkeye enjoys playing up. Frank doesn't make any jokes directly mocking Hawkeye's masculinity that I can recall, beyond vague "pervert" and "degenerate" remarks, which, while often historically homophobic, in the show's context tend to be treated as a reference to his heterosexual endeavours.

Frank's effeminacy is a point of mockery and derision, but Hawkeye's is a point of pride, and not intended to make him any less likeable to an audience. Antagonists don't get to score points off of Hawkeye by mocking his feminine traits, but Hawkeye makes fun of Frank regularly by mocking his feminine traits.

This difference in framing can partially be explained by the nature of their respective gender performances.

While Hawkeye and Frank are both effeminate, they're effeminate in many opposite ways. Frank is weak-willed while Hawkeye is strong-willed. Frank is unappealing to most women, while Hawkeye is something of a lady's man. Frank cannot face his fears to rise to a challenge, but Hawkeye can. But on the flipside, Frank refuses to admit to fear while Hawkeye openly proclaims it. Frank strives to attain authority while Hawkeye refuses it or takes it on only begrudgingly. Frank is obsessed with guns to a freudian extent while one of Hawkeye's most famous monologues of the show is a speech about refusing to carry one. Frank worships the concept of traditional masculinity even while he can't perform it himself, while Hawkeye mocks the concept and would refuse to perform it even if he could.

The Sniper is an excellent case study of these contrasts. In this episode, Hawkeye is effeminate and at ease with it, while Frank is desperate to prove himself masculine. Frank and Margaret flirt with strong Freudian overtones while Frank shoots a gun while nearby Hawkeye flirts with with a nurse with a line about "tasting" her. Hawkeye connects with the nurse he's wooing by relating to how scared she is and huddling in fear with her, while Margaret demands that Frank prove his masculinity by going out and taking down the sniper himself. Frank carries a gun while trying to approach the sniper, while Hawkeye carries a white flag. Frank tries to make fun of Hawkeye for wanting to surrender, but he can't bring himself to approach the sniper while Hawkeye does.

This contrast of gender performance is a consistent aspect of Hawkeye and Frank's dynamic throughout the show, but The Sniper makes it a central theme so it's a useful example to show how their relationships to masculinity are a deliberate aspect of their dynamic.

And while Hawkeye makes fun of Frank's femininity, it's significant that he also regularly makes fun of Frank's masculinity - his love of guns (eg The Sniper), his sexual affairs (eg the exchange about Frank as a "fantastic performer" in Yankee Doodle Doctor), his numerous attempts to exert authority (eg Welcome to Korea), his desire for socially approved success (eg Hot Lips and Empty Arms), etc.

Both masculine and feminine sides of Frank are comprised of negative character traits, while Hawkeye embodies the best of both - emotional expression and healthy ways of coping by talking about his feelings; bravery but not machismo; intelligence and skill as a doctor rather than an officer; empathy and a willingness to listen; sexual prowess but largely through his love of foreplay rather than his dick game (which, in the context of the early 70s, is a somewhat feminine attribute that distinguishes him from a typical traditionally masculine man); etc.

Hawkeye demonstrates some of the most appealing and healthy qualities of both masculinity and femininity while Frank demonstrates, or strives to demonstrate, the more toxic qualities of both. Through including a few positive masculine traits in the mix, the narrative is able to depict Hawkeye as likeable, admirable, and desirable in his effeminacy while Frank is depicted as loathesome in his. Hawkeye gets one of many, many women in The Sniper by showing vulnerability, while Frank only appeals to Margaret, and Margaret is portrayed as borderline pathological in her sexual attraction to violent masculinity (the scene where Frank excites her with his gun, for example, also includes an electra complex joke, and there's a running rape kink gag in this episode as well).

Another aspect to consider when it comes to differentiating Hawkeye and Frank's respective femininities is hypocrisy. Similar to how Frank and Margaret's affair is mocked because they can't admit to it while Hawkeye and Trapper's affairs are glorified, part of what makes Frank's effeminacy so mock-worthy, while Hawkeye's feminine qualities are a source of pride and rebellion, is that Frank refuses to admit to them.

Frank desperately wants to be the ideal heroic army man and often play-acts the part, poorly. When Hawkeye mocks him by calling him a woman, for example, he's drawing attention to Frank's failure to live up to his own ideals. And when Hawkeye calls himself a woman, he's mocking those same ideals. The message is that Frank is pathetic not so much for failing to be traditionally masculine, but for wanting to be traditionally masculine at all.

Ultimately the ways Hawkeye and Frank perform masculinity and femininity are pointedly in opposition, from which masc and fem traits they embody, to how proudly they embody them. The show itself draws attention to these gendered similarities and differences between Frank and Hawkeye through a constant barrage of jokes, and even whole scenes and episodes. In this way the show portrays Frank as a hypocritical loser who wants to be masculine but fails to embody all but the worst traits, and Hawkeye as a cool, admirable guy who disdains the traditional pillars of masculinity and embraces his own effeminacy.