#suspension parts

[lesbianshepard]

travelling next week for work. googled the nearest city and none of you are prepared to see what passes for the local style pizza.

[atozautopartsindia]

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[man4x4accessories]

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[classiccarparts]

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Discover top-quality classic car suspension parts from our renowned Indian supplier. Our range of suspension components is crafted with precision and expertise, ensuring optimal performance and durability for vintage automobile restoration projects. With a commitment to quality and reliability, we provide enthusiasts worldwide with the essential parts needed to maintain the authenticity and smooth operation of classic cars. Trust us to elevate your restoration experience with our premium suspension solutions.

[hometowne-auto-repair-and-tire]

Do you feel like you’re bouncing a lot when driving down the road? Does your vehicle seem to be nose diving?

The shocks and struts might need to be replaced.

It’s a good idea to have these suspension parts checked around 50,000 to 60,000 miles. How often they need to be changed depends on the vehicle.

Replacing shocks and struts when they’ve become worn helps extend the lifespan of your tires. You’re also able to maintain control of your car.

[alshamaliautoparts]

Al Shamali Auto Parts Group offers premium suspension parts that can be used to improve your car. You may drive with confidence, knowing that our superior selection will provide a comfortable and seamless ride. Come visit us today for premium car suspension components that are designed to last a lifetime and provide outstanding performance. Trust Al Shamali for all your automotive needs.

[usautopartscar]

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[steves-auto-repair-va]

Have you noticed a clunking noise when going down the road or turning the wheel? Do you hear a knocking sound as you travel over bumps? Is there a squeaking noise that wasn’t there before?

These sounds can indicate worn or broken suspension parts. Overtime, components can go bad, due to daily use and age. We keep an eye out for these problems when performing our courtesy inspection.

A Honda Civic needs new lower control arms and ball joints. To make sure a vehicle is within the correct specifications, we recommend a wheel alignment after replacing steering and suspension parts.

[arks4autoparts]

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[taevisionceo]

TAEVision 3D Mechanical Design Parts AutoParts Aftermarket Eibach Federn EibachSprings suspension springs ▸ TAEVision Engineering on Pinterest ▸ TAEVision Engineering on Google Photos

TAEVision 3D Mechanical Design Parts AutoParts Aftermarket Chassis ... Suspension Systems ... Springs [3D Animation]

▸ TAEVision Engineering - Chassis ... Suspension Systems ... Springs [3D Animation]

Data 120 - Oct 28, 2022

[rabid-transcendentalist]

Mexico when Texans have to start crossing the border for a better life good heathcare

[agoodomenssideblogiguess]

I dont think I'll ever be able to get over the "I work in Soho, I hear things," line Aziraphale says in 1967. Cuz like if you exam the scene background for more than a couple of seconds you realize how fucking ridiculous Crowley and Aziraphale are being.

Because, Crowley KNOWS where the bookshop is. Crowley was probably there when Aziraphale came up with the idea and when he chose the property and for sure was there for opening day. Crowley KNOWS it's still there in 1941, they go back at the end of the magic show for wine.

The fucking Dirty Donkey is established as being across the street from the bookshop with a perfect view to the inside during s2e4.

See how the crossed out windows the zombies are looking through are visible through the window over Crowley's shoulder. If Aziraphale were heating up the tea kettle on his little parlor stove, he might even be able to see the pub's entrance or any cars coming up the street.

And I doubt that the pub moved locations in or around 1967 only to be moved back by 2023 so we can safely assume that what's visible in 1941 is visible in 1967 during Crowley's meeting.

I went back to the 1967 bit in s1e3 to figure out where the fuck Crowley is parked and I'm pretty sure the ramp he speaks alone to Shadwell in front of is the same ramp that Marguerite's restaurant has.

And in s2e5, as Aziraphale leaves to invite all the shopkeepers to the 'meeting' we see Marguerite's sign through the windows to the right of the front door.

Which means Crowley's conversation with Shadwell is fucking visible from the front door of the bookshop.

And it also means those fucking strip tease signs that Crowley has parked the Bentley in front of are covering up the record shop and the window over Aziraphale's desk (Which I'll admit, unfortunately means that the ramp isn't visible through the window and might only be seen via the windows of the front door of the shop). Why are these windows covered up? Maybe the set designers wanted to give the illusion that they are on some different part of the street. UNFORTUNATELY I CAN FUCKING SEE THE BOOKSHOP PILLARS IN THE CORNER OF THE SCREEN YOU CANT FOOL ME.

Let's put it all together now: Crowley drives the Bentley, his ICONIC Bentley(no doubt who's fucking Bentley that is if you see it come down the street through the window), just past the bookshop, and parks. He has to get out on the bookshop side of the street and backtrack, PAST THE FUCKING BOOKSHOP DOOR, and to the pub that is in perfect view of one of the (only unblocked) bookshop windows, and has a conversation with a strange man in view of the bookshop's front door.

"I hear things" Aziraphale, baby girl, you didn't have to hear anything you can literally see Crowley at every moment.

And also Aziraphale, you're not off the hook for ridiculousness either. Why the fuck did you teleport into the Bentley. THE BOOKSHOP IS RIGHT THERE. You fucking depraved me of a full cravat outfit shot because you wanted to spookily and mysteriously appear to your beloved demon. YOU'RE KILLING ME AZIRAPHALE.

[spacetimeaccordionfolder]

I love the intersection of Narrator and character. Character who is the narrator or a narrator who is also a character but not the main character. Guy in the corner who announces what will happen and also gets boo'd or high five by the main characters. Exists in the 4th wall but sees through it. Or perhaps exists outside the 4th wall but peaks in and says hi. The characters say hi back. Sometimes the Narrator is all knowing. Sometimes they only know a little, perhaps the script or what has previously happened. Sometimes the Narrator character is kind and helps the other characters along. Sometimes they laugh in the other characters faces. There is a chart here that I haven't conceptualized yet.

Some examples:

The narrator in Into The Woods

Alan-A-Dale/ the Rooster in Robin Hood

Hoid/ Wit in the Cosmere

Steve/ The Jester from Galavant

Also the Head Monk from Galavant

the Narrator from Winnie the Pooh

The Narrator from Word Girl

If you can think of other examples, please add!

[man4x4accessories]

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[autism-alley]

hi originally posted this at the end of a long thread of back and forth, here’s the og post if you want full context but i feel like this needs to be its own post especially bc i keep seeing this argument being made—the argument that the kids (in this case it was annabeth) SHOULD just know the monsters are monsters and who they are and how to defeat them before ever encountering them, that it’s a problem if they don’t.

the problem is not if 12 year olds should recognize a trap when they see one, even if they’re smart 12 year olds, and if that’s realistic. that is entirely beside the point.

the problem is rick riordan wrote a book series whose formula is bringing myths to the modern age and he’s not sticking true to that in the show—percy jackson and the olympians’ Shtick is taking these classic, ancient threats and giving them a new face. these traps work because these kids are not walking into a cave marked with Get Out and getting ambushed by monsters—the monsters are disguised as harmless mortal human beings, in harmless mortal human being places (for the most part) and i think we—and more importantly, the show—are all forgetting the mist, the magic involved here. it’s not just that medusa is a “creepy lady with her eyes covered” it’s that there is ancient magic at work here, magic that, like the systems of abuse pjo exists to criticize, has been evolving and continuing its malevolence for millennia. it’s formulaic, that’s the point. it’s the same trap you’ve learned about all your childhood, the same trap a thousand children before you learned all their childhoods, and still, it works. you fall into the trap. because that’s how generational abuse works. it’s a trap. it isn’t enough to learn monsters exist, what they look like from a second hand story that originated thousands of years ago. if you want to escape alive, you have to adapt as quickly as they do, recognize their face, and ultimately, beyond any individual trap, the game itself has to change. real, generational change.

so. the problem is rick riordan wrote a series with a formula for action that perfectly captures the overarching, systemic conflicts he was commentating on, and then threw that formula out in the show because it was “unrealistic”. i don’t give a damn about realism when it works to the detriment of the story. this is a story about generational abuse, yes, but it’s told through ‘a tale as old as time’ and that’s why it works so fucking well. and when it comes to basic storytelling, if your characters know the threat before they even walk in and you do practically nothing to then make up for the stakes you have removed, that’s a flaw. now you’ve lost the entertainment value for your audience, on top of also lessening your themes.

something else that is so. honestly soul-crushing as a writer and a creative, is that to me this is reflective of the way we are now afraid to tell earnest stories. stories where we care not for listening to the people who want to pick apart fictional, mythical, fantasy stories for not being “realistic” instead of aligning with our target audience who acknowledges reality is not what makes a story. think of your favorite movie, show, book, comic, what have you—has the reason for your favoritism ever been because it is the most reasonable, the most grounded, the most practical out of any you’ve seen? or is it because of the emotion? the way it speaks to you, to your life and the person you are? the journey it takes you on? is the percy jackson and the olympians book series so good because it’s inherently realistic?

the secret to storytelling is, very simply, focus on your story. everything else is secondary. if it’s written well, it doesn’t matter to me that the characters walk into a trap that, to the audience, is obviously a trap. because i can understand how the characters don’t know it, and how the story falls apart if the narrative just tells the characters it’s a trap from the jump. that’s what dramatic irony is—first used in greek tragedies! this is literally a tale as old as time in every sense except for the end—where it’s happy. and it’s not earned if we don’t first see, over and over, the status quo as a tragic trap.

it’s not about if annabeth (or the other kids) is “smart enough” to not walk into a trap, or about if she’s just too prideful to not walk into what she knows is a trap (or any reason that could apply to the other characters), it’s that annabeth, at the end of the day, is a character. she is a storytelling tool for the messages of the narrative. that doesn’t make her any lesser. in fact ignoring it reduces her, because it reduces what she represents. it’s about how rick riordan, or whoever else at disney, has fumbled the storytelling bag so ridiculously hard that they can’t take the simple, effective formula outlined from start to finish (by good ol 2009 rick himself) and adapt it to the screen without answering the most unimportant, derailing, anti-story questions.

[poorslaindoll]

So I heard we were redesigning the Scooby gang for funsies. And character design is my passion so… Have this college au!

I honestly think that Velma would be the only one who’s actually a criminal justice major or going to school for a similar field, but I also think she’d minor in like robotics or something. She’s got a full scholarship bc she’s like a super genius or something.

Daphne is a fashion design major but dabbles in a few other things when she isn’t doing mystery stuff with the gang. I’ve always seen her as a jack of all trades type who can pick up skills p easily tbh. She’s just girlboss like that. Also the fact that Shaggy wears socks and sandals drives her nuts.

Fred is a theater kid and if you think otherwise you’re wrong. Idk much about theater majors but I think he’d focus more on the technical side of things, but he’s still a pretty good actor.

Shaggy just seems like they’d be the type to be a culinary arts major bc y’know… food. He’s also on the college track team bc that also makes sense to me. And Scooby is their emotional support dog. Anxiety service dog??? (I’m not all that familiar with the terms and what is considered like a service animal or not so I’m so sorry if that’s not correct.) Also baggy clothes to hold all the snacks.

I imagine that the gang is still solving little mysteries while in school since chaotic stuff just gravitates to them via the power of being main characters, but I also think it would be fun to have like an overarching mystery as well. And I think it would include the gang noticing that despite the normal lifespan of a dog, Scooby doesn’t seem to be getting any older…