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Absent any empirical data, I am using an abstract social class analysis. Should the Red Cross people cut her in two, put the pieces in a body bag and take her to the hospital morgue, or leave her behind, in the hope that more powerful equipment could lift the concrete slab from her back and would reach her before the dogs did? 6 inch android phones questions On the day of the trip, your bus was suddenly involved in an accident. Free "A seven-year drought plagues the entire region surrounding the country of Nishtif, leading people to wonder if their goddess Scheknt has abandoned them.

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They didn't actually have horses, just the coconuts. Why can the CCTV do it, but not a local television station? Since then, the police have rescinded the fine. Do you remember the intimate nights that we spent together? When the expedition encounters a decapitated Engineer, Fifield abandons his research and leaves the group with Millburn following.

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18.02.2018 - The sharp-hoof'd moose of the north, the cat on the house-sill, the chickadee, the prairie-dog, The litter of the grunting sow as they tug at her teats, The brood of the turkey-hen and she with her half-spread wings, I see in them and myself the same old law. Evil propels me and reform of evil propels me, I stand indifferent, My gait is no fault-finder's or rejecter's gait, I moisten the roots of all that has grown. By the way, this case brings up many innovative techniques, such as stopping people from reading an unfavorable post through posting numerous photographs of traffic accident deaths in the comment section. Or is there something else more important? Be at peace bloody flukes of doubters and sullen mopers, I take my place among you as much as among any, The past is the push of you, me, all, precisely the same, And what is yet untried and afterward is for you, me, all, precisely the same.

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07.03.2018 - Who will you trust? Retrieved January 7, Wall Street Journal staffers accuse editor of suppressing story. Commercial with a demo "You have been invited to attend a magical school.

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19.03.2018 - Commercial with a demo "Mai is having an awful day. After United Systems Military researchers extract the Alien Queen from Number 8 on the ship USM Auriga in the yearthey keep her alive and confined and give her a rudimentary education. An erotic visual novel by the creators of Analogue: Retrieved December 18, Written by Jon Spaihts and Damon Lindelof. Resurrection — Joss Whedon's Original Endings". Translation And Its Discontents:

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Mostly, he used a pentatonic scale of the kind heard everywhere in the Middle East, Asia and Eastern Europe. Even less known is that the Mesoamerican natives also painted their pyramids in bright colors the Aztecs mainly in white, while the Mayas favored red.

This is probably where the penchant for bright colored buildings in modern day Mexico and Central America comes from. Thunderclaps are usually heard at the same time as lightning, even though we all know light travels faster than sound.

This is also a problem with other loud things happening far away, such as fireworks or nuclear explosions. Amusingly, in The Sound of Music, Maria tries to comfort the children during a lightning storm by explaining that "the lightning says something to the thunder and the thunder answers back".

Of course, the thunder and lightning in the film happen at once, so apparently Lightning and Thunder are talking over each other. Poltergeist is one movie where lightning flashes silently, followed by the rumble of thunder several seconds afterwards, but this is actually a plot point.

The Video Game Remake of Resident Evil features thunder that lags several seconds behind the lightning, typically seen through windows. This arguably creates a sort of setting-based Uncanny Valley that further reinforces the Haunted House vibe you get from exploring the mansion.

For that matter, most anything sufficiently old will tend to be a bit drab. Things set in the early part of the 20th century will tend toward grays, while the latter half of the 19th tends to favor browns.

While this is sometimes intentional to evoke the feel of a black and white film or sepia photographic plate, it just as often comes more from the fact that the set and costume designers were working from colorless references.

In the middle ages, houses, clothes, and churches were uniformly brown, and in colonial America, everyone had white hair. Characters reading from books will typically open to the middle of the book and start reading from there, as if the pages up until that point were all blank.

The only exceptions are if the book is comically huge, opening just the cover to emphasize how heavy the reading will be. In any film involving skydiving, the parachute is deployed either by pulling the metal handle on the harness or pulling a rip cord.

The metal handle actually deploys the reserve chute, not the main, and modern parachutes do not have rip cords. The handle for the main chute is located underneath the bottom of the parachute pack, and it is connected to the drogue, or pilot, chute.

The skydiver simply pulls off the handle and throws it in the open air. The handle is connected on the drogue chute, which opens in the slipstream, and then deploys the main parachute.

Likewise, all depictions of parachutes tend to be the old-fashioned "bell" parachutes. In reality, they are today used only by army paratroopers as they open quickly at low altitudes and dropping gear and equipment.

All skydivers today use square "wing" parachutes. Swords tend to make a metal-on-metal scraping sound when drawn, no matter what the scabbards are made of. The first metal scabbards which really do make this sound come from the late 19th century.

Scabbards were of leather and wood before that. In The Lord of the Rings movies swords make a steel-against-steel sound when drawn from leather scabbards. It is alleged that they originally intended to use more realistic sounds, but in a textbook example of the Coconut Effect decided that it sounded "wrong" on film.

The visual commentary from Kingdom of Heaven states that the metal-on-metal sound is just for dramatic effect; if a scabbard were designed in a way that would produce that sound would likely end up ruining the blade's cutting edge.

The modern version of the last entry is that people apparently always walk around, even if actively hunting somebody or in battle, with their guns effectively unloaded. They will then apply the up-to-date dramatic noise of chambering a round or cocking the hammer before firing.

Truth in Television, for most westerns. Guns of the period tended to be dangerous to carry in a charged state—an unlucky bump could discharge the weapon prematurely. Hence, most revolvers were loaded with five rounds and left uncocked on the empty sixth chamber.

Repeaters and shotguns received similar treatment, requiring the showy pump to be ready to fire. Lampshaded by Kiefer Sutherland in Phone Booth: You know like in the movies just as the good guy is about to kill the bad guy, he cocks his gun.

Now why didn't he have it cocked? Because that sound is scary. It's cool, isn't it? In many anime, most noticeably Rurouni Kenshin, every time a sword moves while drawn, it makes a metallic clicking noise.

This is usually used like gun cocking to indicate that a character is serious. This is only Truth in Television for a loose sword with an all-metal hilt, not a common construction for Japanese katana.

Oddly enough, the Trust And Betrayal OVA which is done in a more realistic style than the TV anime actually uses this clicking sound in the correct context — it shows that the sword has not been used for some time and has not been maintained and emphasizes the desperation of the situation.

Under normal circumstances you should never hear this sound. When Becky and the 1-C class go into Himeko's mind, Himeko serves a meal of crab More casual anime fans and non-fans in the West expect anime to have a particular character design, with semi-realistic bodies and distinct eyes and hair, commonly called the "anime style.

Even hardcore anime fans run into this problem; with the increased involvement of Western studios helping with Japanese animation in The New '10s, some think the more "non-standard" art styles are due to demands from said studios rather than the Japanese studios themselves.

What further muddles it is that some of the more notable character designers that helped in Western animation throughout its history were in fact Japanese, meaning their time working on those series would inevitably rub off on them when they did original properties as was the case with the team behind The Big O.

Expect any crime anime that takes place in the United States during Prohibiton to exclusively use Italian hoods, Irish and Jews be damned. However, this doesn't change the fact that every single Gundam universe has sound effects in space battles Needless to say, every other speedster in The DCU has to be able to do all these things too.

In fact, they've added a special phlebotinum to the Flash canon - the Speed Force - to explain the more impossible ones it lets him absorb speed from bullets, impart it upon people he carries, and gives him total control of his body's molecules.

Most non-DC speedsters won't be able to turn intangible, but they'll still be expected to be able to run across water and along walls and ceilings and to catch bullets as though their palms were armored - hey, the Flash can do it, why the heck can't Quicksilver!?

The running across water is justified: The use of huge, gaudy onomatopoeia or, depending on how people describe the phenomenon, "sound effects", "Batman words", or even "noise words".

He is the Trope Namer, after all. Parodied in Monty Python and the Holy Grail: They didn't actually have horses, just the coconuts. Ironically, the producers actually wanted to use real horses but didn't have the budget and the coconuts did a better job at the whole Rule of Funny bit.

Rocky Balboa, the sixth Rocky film, had realistic boxing sounds inserted during the actual match between Rocky and his opponent. The last few Rocky sequels before this had grown increasingly dependent on unrealistic boxing sounds, and the more authentic noises spat in the face of that dependency.

Accordingly, instead of using the dramatic cinematic effect for the entire ending, the fight was presented like an ESPN pay-per-view event, complete with stats charts, graphical widgets and even the clock during the first round.

Ironically, Ring Girls, which is for all intents and purposes a documentary although "creatively" edited to look more like a reality show, nevertheless added Hong Kong sound effects over all the punching and kicking, completely ruining it for every martial artist or even fan out there.

It did not make the movie any more popular. In another camera example, many films will add in the sound of a chemical flash bulb firing a very recognizable whoosh whenever they show flash photography, regardless of whether these old-timey flash bulbs are depicted on screen, or what era the movie is set in.

Martin Scorsese and Wes Anderson frequently do this. In an interesting inversion, when an older-model electronic flash is used, the noticeable whine many make as they recharge is usually absent.

This may be due to the sound effect having been co-opted by futuristic Noisy Guns. The sound effects used in hand-to-hand combat in the Indiana Jones films are extremely over-the-top e. Ben Burtt, the sound designer for all the films, says on a DVD extra that he decided to make the punches over-the-top on purpose as he felt they were making a comic book brought to life.

And any Bollywood movie portrays it much, much more over the top. The Batman film franchise on a whole is guilty of this; despite the fact that blue and grey are much better urban camouflage colors, he always retains his black rubber armor in Live-Action Films save for the Adam West one.

The sound effects in The Dark Knight are deliberately "one up. More a stylistic choice, but still the trope. Notably, the third movie never highlighted it at all, with Spider-Man's reflexes and Spider-Sense all rendered in real-time.

Digital readouts are an excellent example. In The Taking of Pelham One Two Three, the subway's digital speedometer makes a series of increasingly faster beeps when shown on screen, despite it being established there's no beeping noise when the trains are driven normally.

Common also in Knight Rider: In only a few cases are there closeups of slow speed changes with the corresponding tick. In addition, no wide-angle shot includes audible ticking. The serial The Phantom Empire, since it has a radio Show Within a Show, actually shows coconuts being used to make horse sounds.

Being partly a Western, it no doubt had many traditional examples too. An intentional example in Airplane! The creators originally wanted to use a propeller-driven DC-4 the one from Zero Hour, the movie on which its based, but Executive Meddling forced them to use a jet.

The Sequel has a similar effect, but on a space shuttle. Jake's punches seemed to be even louder and more exaggerated than other characters. The films are notable for their use of invented foley effects created by sound designer Ben Burtt.

For Attack of the Clones, George Lucas decided not to use the stock sound effect of lightning and thunder coinciding with each other during the thunderstorm on Kamino, instead having the lightning happen a few moments before the thunder crashing.

In the commentary for the prequels, they talk about how Yoda's CG design had to compensate for the visual effect of Yoda being a puppet in the older films. For instance, Yoda's ears wiggling when he moved was originally a side effect of the material used to create the puppet, but they actually replicated the ear-wiggling when he went CG simply because audiences had already accepted that Yoda's ears are just supposed to do that.

The image of the alien spacecraft in Independence Day sweeping over the flag on the moon is probably the most iconic sight of the film second only to the destruction of the White House.

In the same way a poster exposed to direct sunlight fades over time the dyes used in the flags by the Apollo missions have all completely faded away leaving nothing but white pieces of fabric in their place.

Sunshine is especially guilty of this as, despite aiming for scientific accuracy to the extent of having Brian Cox acting as an advisor, it's still riddled with inaccuracy. In the movie's defence, however, Danny Boyle noted that the movie didn't feel right without things like audible whooshing and visible distant stars.

During the movie, they're making silent electric cars "roar" as if they had loud combustion engines. Done literally and in-universe in Murder! Also done in-universe in Spite Marriage, when Trilby's theater troupe needs to simulate horse's hooves.

In It, the titular entity no longer has the original story reasons for assuming the form of Pennywise the Dancing Clown. In the book, this was because IT could not change forms on a whim and ITs guises followed the rules of the form it took— a werewolf form would be vulnerable to silver bullets, but scary clowns have no rules, so it's an ideal avatar.

In the film, though, IT can shapeshift at will and ITs weakness is simply that its victims' imaginations can overrule ITs plans, so there's no real reason for IT to default to Pennywise other than the fact that it's such an iconic character.

The short story Damned Spot by Julian Rathbone, a Deconstruction of historical whodunnits, notes that oak darkens with age, so the dark oak we associate with Elizabethan architecture and furniture would have been quite pale at the time, before deciding that it's more important the setting fits the modern perception of Elizabethan era.

In the Hyperion Cantos, farcasters are implanted with devices to make a person stepping through feel like he is traveling. Of course, nobody really knows if he is or not, but they do wait patiently.

Kornbluth story The Marching Morons features this in cars, which have speedometers that go to somewhere around MPH and exhausts that literally belch fire, both purely for effect. The modern-day "protagonist" notices that when the speedometer reads he feels like he's going maybe 60, and then later notices that the engine roar cuts off a fraction of a second AFTER the car stops because it's an effect added to make it seem like the cars are faster and more powerful than they really are.

Despite the fact that it purports to have at least something to do with reality, the hit U. In the s, the Univac I computer executed operations so slowly that the engineers made a different "beep" occur for every type of instruction.

This allowed programmers to tell, for instance, if the machine was executing a long loop, had stalled, etc. Only the Univac I did this, it was used almost exclusively in a back room at the U.

Census bureau, and the beeping computer was quickly retired when faster computers were built in the late 50s. However, when the machine was new, the marvelous "artificial brain" was demonstrated for TV news and documentaries.

The "beep-beep-boop" sound then got a life of its own because there wasn't really anything else in a TV computer to tell the audience that the computer was doing anything. Soon, all TV computers had to produce a series of beeps of various tones.

The original Star Trek avoided this by having the computer's voice say "working The beeping sound was mandatory in TV-show computers well into the 80s, until the trope happened in reverse.

The common man began using home computers and the pointless, sourceless beeps came to be properly seen as idiotic. The Chef is trying to get his chicken to lay an egg and after it looks like she has, he angrily declares that the object is not an egg but a ping-pong ball.

The humor is, of course, that the audience would expect the ball to double for an egg in the sketch, making it surprising when the Chef refers to what it really is.

Battlestar Galactica did this when the Galactica warped into the upper atmosphere of a planet and immediately burst into flames. Reentry fire comes from the massive sideways velocity any orbiting object has.

The ship started from a dead stop, but most people equate falling from space with fire. But they probably did it because fire makes things cooler. Potentially justified due to possibility that the flames were caused by the near-instantaneous displacement of an enormous volume of air caused by the Galactica's jump.

Half of what the MythBusters do is based on this trope, testing out the way things work in reality vs. Parodied in Gilmore Girls Ep. The warmth of analogue recordings is caused partly by tape hum, which often makes people think digital recordings sound cold and sterile by comparison.

Note that this largely depends on the type of music. The same could be said of the faint hum and crackle of vinyl: The Loudness War has led to certain people thinking that maximum loudness, low dynamic range, 'whispering' on the voices caused by parts of the vocal track to have come off and excessive brightness are a sign of improved technology, when most of the time they are just to make the music louder.

We've gotten so used to hearing some type of post-processing on vocals be it reverb, double-tracking, flangers, phasers, you name it that just hearing raw vocals on a track can sound jarring.

Actually, this sounds jarring because studio recordings are made in sound-dampening rooms to avoid accidental undesired effects on the music. Real-life sound however sounds very different, because the acoustics of the surroundings produce echo and reverberations.

This is why there's a science to the construction of auditoria and theatres used for live music. Thus some post-processing is required to make studio recordings sound more realistic.

Of course in practice, the amount of post-processing used goes way beyond adding realism, and wraps back to unrealistic. In FoxTrot, Jason Fox is eating a watermelon and tells Andrea how it doesn't taste like his watermelon gum.

Naturally this earns a weird look from her. Back in the '60s, televised Professional Wrestling placed a microphone under the ring which made some very impressive sounds when wrestlers jumped off the top rope or stomped their foot during a forearm smash.

They still do that. It's why fights backstage seem to fall a bit flat - the bumps don't have the same 'oomph' as bumps in the ring. Fans often tend to complain at the 'dead crowds' on WWE television.

The seemingly uninterested crowd are in fact very animated but the sound is just not being captured. If you watch fan footage recorded on someone's phone from the crowd, the noise is deafening.

WWE just doesn't mic up the crowd because it runs the risk of people's personal conversations being broadcast on the air among other things. So the only time you'll actually hear a lively crowd is if they're screaming insanely at the top of their voices.

The big smack you hear when someone gets superkicked or big booted is of course the wrestler slapping their leg for dramatic effect. Slapping your leg and stomping for dramatic effect is falling out of practice these days.

Also the big smack made when someone gets kicked in the head is usually caused by the kick pads the wrestler is wearing. Also wrestlers are taught to throw punches with the meaty part of their arm because it makes a nice impactful sound when hitting off the face.

Since the s if not earlier, American audiences have grown accustomed to fight scenes in action movies that cause the combatants to bleed like stuck pigs, when in fact mild bruises and maybe a few chipped teeth are bound to be the results of a real-life fight.

If pro wrestlers didn't bleed as much as they do, spectators might suspect that they "aren't really hurting each other" even though they are, or that the staged fights aren't "realistic" enough.

Hence, the custom of wrestlers slicing themselves on the sly for that good old "bloodbath" effect. The Reduced Shakespeare Company Radio Show mentions the use of coconut shells as a character starts to ride away.

In the s, Australian radio broadcasts of cricket overseas weren't actually done from the ground. The commentary was based on ball by ball telegraphs, and sound effects such as canned applause and an artificial bat-on-ball sound were used.

The trope didn't come into play because listeners knew the difference from having listened to local games; "synthetic broadcasts", as they were known, were abandoned in when shortwave reception had improved enough that the action could be delivered directly.

The Mercury Theatre on the Air used the classic coconut effect in the first scene of the first episode, an adaptation of Dracula, as Jonathan Harker's coach makes its way to Dracula's castle. Laser weapons in Rifts are said to come with built-in noisemakers to satisfy customers who expect sci-fi-style sounds when they're fired.

Otherwise, they would be mostly silent. Lasguns in the Warhammer 40, universe have explored every angle of this trope they could find. In the art and the video games they are huge highly-visible coconuts, because otherwise you wouldn't know they were firing.

In the fiction they are described as firing invisible, near-silent beams. There is a button to make the beam visible again, but this is officially for training purposes read: The only 'Pew', so to speak, is the audible snap of the air ionizing.

This also comes up when lasguns are given to Guard regiments who come from planets where most readily available weapons use chemical propellant. Guardsmen who expect guns to make a loud bang and flash when fired get fake noises and lights because the familiarity is good for morale.

Guardsmen from less developed worlds are used to the relatively silent bow or crossbow and get no special treatment, while Guard regiments on appropriately advanced worlds are already used to las weapons.

In a similar fictional case, the guns in Gantz make a pathetically small sound and do nothing more than glow at the barrel. In reality the predominant noise is the sound of cooling fans and water pumps.

Occasionally, there will be a soft "pfft" sound when the laser fires, and that comes from the noise of the Xenon flash tubes used to pump the laser. High power microwave sources are also silent except for the cooling.

What fun is a death ray that sounds like your air conditioner? High power laser weapons actually might not be silent so much as they would switch which end the noise is on. The impact of a laser weapon on a target would actually produce a loud bang since it's vaporizing material into a rapidly expanding gas cloud; AKA an explosion.

This might incidentally make them pretty crappy stealth weapons since the sound is inherent to their damage mechanism and can't really be dampened. Also in Warhammer 40, , the Orks manage to justify and exploit this trope.

Because their latent reality warping abilities make anything a sufficient number of Orks believe become true, Red things go faster, louder guns do more damage, and things that look science-y and have most of the wires in the right place can do whatever a halfway competent Mekboy says they can.

A commonly held theory is that orks specializing in stealth gain much of their inexplicable ability to infiltrate locations despite being, well, extremely large, heavily armed, green slabs of muscle with impulse control issues from the fact that most orks believe stealthy, disciplined orks do not exist.

Figures of Ben Reilly as the Scarlet Spider invariably includes his hands in Spider-Man 's classic "web-shooting" pose. However, Ben never actually did that; he modified his web-shooters to fire without the pose.

But the pose is so iconic that it gets included anyway. Crate Expectations has become a sort of coconut effect. Almost every game that involves ammo and many that don't have crates that must be broken to get ammo.

Valve, for example, found this out during playtesting of Half-Life. They attempted to avoid including crates, but so many people wanted something to use the crowbar on and get ammo from that they eventually had to give in.

Exploding Barrels could easily be classified as this. By now, most people realize that shooting a barrel won't actually cause it to explode, but for a game to not have explosives that can be triggered by shooting them would be just odd to the gaming audience.

People Can Fly found that just trying to change the ubiquitous colour red of the exploding barrels to green for Bulletstorm didn't work right for the players. Then again, Jump Physics in platformers is generally not realistic.

This even affects the 'realistic' platformers as seen in the SNES' heyday. Climbing up 3 straight-jump-up ledges in a row makes it sound like the hero of say, Flashback, is attempting to drop a log cabin in an outhouse.

The boingy springy sound gets replaced with 'old man toilet grunts. In the MMORPG EVE Online, the standard space-battle cliche of explosions and other sound effects happening despite the inability of sound to travel in the vacuum of space is justified in the game's lore.

The sounds aren't actually real, but because the player's character is piloting the ship from within a sense-depriving goo-filled pod, the outer-space sounds are created by the ship's computers to give the pilot's mind something to focus on.

This may be justified in this game specifically, however. Space in EVE Online seems to have fluidic properties, as ships will slow to a stop without constant propulsion, cruise missiles are described as a "lifting-wing" missile, and corpses instantly freeze when exposed to space.

If this is true, the space would also presumably transmit vibrations. Tyrian uses the same justification: The ship's computer simulates sounds from outside to help the pilot keep paying attention and as a navigation aid.

This seems to be "industrial standard" justification, right from the A New Hope book back in The onboard television crew in Starship Operators mentions that they have to add explosion noises to satisfy the viewers at home; ordinarily, the fights would be silent.

A number of video games have film grain among the video options, as an homage to older movies: Silent Hill 2 , the original PS2 version of the game had film grain as the default.

Notably, this was removed in the HD release and fans were pissed. The Lost and Damned Left 4 Dead and its sequel. After completing ICO for the first time you can enable four increasing levels of film effects.

New Vegas has a major and highly popular modification that focuses entirely on simulating low quality or badly damaged film, to make the game look like an old Westerns.

Stubbs the Zombie had film grain as the default. Mass Effect has a couple examples. Along with the above-mentioned film grain, one NPC in the third game mentions turning off the sound emulators so he can watch an enemy dreadnought "sink" in complete silence.

This suggests that Space Is Noisy is enforced in-universe, probably due to this trope. The whole trope Real Is Brown pretty much sums this up nicely. In real life, colors of all saturation and paleness exist, let alone lighting can vary in both outdoor and indoor settings, so things like ray tracing and desaturating are actually unrealistic.

A special mention can go to Sim City 4 , in which took the trope to the extreme in which not only modern which is somewhat justified, because some people associate brown as "earth-friendly" but also classic Victorian and Gothic the Chicago and New York City styles into the brown filter.

Considering that most Victorian houses were nicknamed "Gingerbread houses" for their use of many colors, one must wonder what they were thinking Of course, the fanbase is now led to believe that if anyone creates a building that isn't drab brown or gray and dull, they're insane.

This idea comes from the sepia photographs leading people to believe that everyone at that time wore drab clothing. The same phenomenon happens in Old West movies. David later confesses to Walter that she "did not die in the crash", as he initially claimed to the team from the colony ship Covenant, ten years after her disappearance.

Walter later finds her dissected corpse, which David had used for his experiments to create a perfect version of the Alien, whilst Daniels finds sketches of what David had done to her.

Shaw's religious passion is the central theme and driving force behind the events of Prometheus, with her search for God triggering the expedition's disastrous outcome.

Scott and Rapace met in and by January, she was signed to play Shaw. Covenant was uncertain during the film's development, with Rapace and the filmmakers making contradictory statements about her involvement.

She was confirmed as returning in a smaller capacity in June, with the filming of her scenes lasting a week. The eighth in a line of David models representing Weyland's unfulfilled wish for a son, David was created by a middle-age Weyland, named after the eponymous Michelangelo statue.

After their arrival, David accompanies the expedition to the Juggernaut, where he acquires a vial of a black, extraterrestrial liquid. David contaminates a drink he gives Holloway to impregnate Shaw with an extraterrestrial life form.

He explores the Juggernaut and cuts his feed to Vickers, giving Weyland private-screening access as he learns about a last-surviving Engineer in cryosleep. David prepares Weyland for the expedition to awaken the Engineer.

He translates Weyland's request for immortality, and the Engineer decapitates him and kills the rest of the expedition except for Shaw. After Janek crashes the Prometheus into the Juggernaut, David's severed head warns Shaw that the Engineer is coming to kill her.

He contacts her after she escapes from the life-support unit, telling her that he would like to help her escape LV by piloting another Engineer ship. After Shaw recovers his head and body, he promises to take her to the Engineers' home world and they leave LV David conducts experiments with the mutagen to create the perfect organism, and using Shaw's body for the experiments.

When an expedition from the colony ship Covenant arrives ten years later, David saves them from Neomorphs. He leads them to his base situated at the Engineer temple, where he becomes acquainted with his successor android, Walter, and lures Oram to get impregnated by a Facehugger, giving birth to the first Xenomorph.

David is confronted by Walter about Shaw's fate, prompting David to disable him. David attacks Daniels, but is interrupted by the recuperated Walter. The two androids fight, with David emerging the victor and discretely assuming Walter's identity.

After escaping to the Covenant, David coordinates the defense against the Alien that infiltrated the ship. After Daniels defeats the creature, David helps her and Tennessee into the sleeping pods.

With Daniels in the pod, David reveals his true identity and puts her to sleep. David regurgitates two Facehugger embryos that he refrigerates with the human embryos and, impersonating Walter, sends out a transmission proclaiming that Daniels and Tennessee are the only survivors of the expedition.

After the synopsis of Prometheus was revealed in, writer Damon Lindelof had an MTV interview in which he described David's primary function as the robotic, non-human observer. Meredith Vickers Charlize Theron, an upper-level employee of the Weyland Corporation, is Peter Weyland's estranged daughter and joins the Prometheus expedition as a corporate overseer.

After the ship settles down in, she explains her lack of faith in the mission to Shaw and Holloway. While monitoring spectagraphs sensors deployed by Sean Fifield, Vickers is seduced by Janek in her quarters.

She collaborates with David, who gives her a feed of his mission to explore the secrets of the Juggernaut, but is denied access since he is directed by Peter Weyland. When Holloway becomes infected Vickers bars him from the ship and, at his insistence, incinerates him with a flamethrower.

As Weyland prepares to meet the Engineer, she warns him that "a king has his reign, and then he dies". After seeing her father's death on a live feed, Vickers orders the Prometheus to return to Earth but Shaw convinces Janek to ram the Prometheus into the embarking Engineer ship.

Realizing that she cannot escape, Vickers and her life-support unit are jettisoned to LV's surface. Shortly after landing she is caught in the path of the rolling Engineer ship, which crushes her.

Her physical similarity to David suggests that his design mimicked Weyland's biological child and raises the possibility that she may be an android herself. Janek Idris Elba is captain of the Prometheus.

Following Holloway's suggestion, he lands the ship near the structure containing the Juggernaut. During the expedition Janek remains on the Prometheus, observing the schematics which Fifield's spectagraphs develop.

Vickers and Janek recognize the Juggernaut as an Engineer ship. While Shaw prepares to join Weyland on the expedition to awaken the Engineer, Janek says that the Engineers had nefarious intentions with the biological weapons and he will do whatever is necessary to protect Earth's interests.

When Vickers orders Janek to bring the Prometheus home, Shaw tells him that the Engineer ship is headed to Earth to release the black liquid and annihilate the human race. Janek decides to steer the Prometheus into the Engineer ship, and orders everyone to leave.

Assistant pilots Chance and Ravel refuse and help Janek run the Prometheus into the Engineer ship, crippling it, sacrificing themselves, and saving the human race. In February Elba, known at the time for playing Stringer Bell in The Wire, reportedly joined the cast of Prometheus in an undisclosed role.

Meredith Vickers' estranged father and the creator of David, Weyland wants to meet the Engineers so his youth can be restored. Convinced of the veracity of Shaw and Holloway's findings and hypothesis, Weyland finances the voyage of the Prometheus to LV On the ship, he orders David to "try harder" to uncover the Engineers' secrets.

Shaw enters Weyland's quarters, where he prepares to meet the last Engineer who is in cryosleep. On the Engineer ship, he has David talk to the Engineer; Shaw interferes, and Weyland orders her subdued and shot if necessary.

When the Engineer learns about Weyland's intentions, he decapitates David and uses his head to beat Weyland to death. Dying, Weyland tells David that the voyage was in vain. Writer Damon Lindelof conceived Peter Weyland as a man with a massive ego and a god complex.

The actor worked to replicate the speech patterns and movements of an elderly man. Charlie Holloway Logan Marshall-Green is an archaeologist who discovers star charts in caves around the world with his lover, Elizabeth Shaw.

After awakening from cryosleep near LV, he introduces the purpose of the mission with Shaw. While the Prometheus flies over the moon, Holloway spots an artificial arrangement of structures and directs the ship to land near one.

He goes with the first expedition crew to the concealed Juggernaut, discovers that the air is clearer than anywhere on Earth and removes his helmet. After Shaw retrieves a preserved Engineer head, the expedition is informed of an incoming storm and Holloway and the rest of the crew return to the Prometheus.

Disappointed by the Engineers' apparent extinction, he sulks and berates Shaw for still being a Christian. David brings Holloway a drink, and they discuss the merits of creating beings; he tainted the drink with a minute organism from a cylinder he brought from he structure, infecting Holloway.

Holloway has sex with Shaw shortly afterwards, impregnating her with an alien embryo. After seeing a small, extraterrestrial parasite in his eye, Holloway returns to the Engineer ship and becomes ill.

As the expedition returns, Holloway worsens; the infection becomes obvious, and Vickers obeys his request to kill him with a flamethrower outside the ship. Kaufman requested an audition tape for what she described as a "science-fiction film directed by Ridley Scott".

Scott viewed the tape and offered Marshall-Green the role. Oliver Lyttelton of IndieWire was disappointed that Holloway contributed to the plot apart from his mutation. Fifield Sean Harris is a geologist on the Prometheus.

After waking up, he rejects friendly overtures from Millburn and casts doubt on Shaw and Holloway's mission hypothesis. Fifield accompanies the expedition to an artificial structure and deploys his spectagraphs, which begin to develop a layout for the Juggernaut.

When the expedition encounters a decapitated Engineer, Fifield abandons his research and leaves the group with Millburn following. They become lost, failing to rendezvous with the rest of the expedition who has left because of the storm, and find a mound of Engineer corpses and a hidden room containing the thawed, mutating black liquid.

They also encounter Hammerpedes: Fifield decapitates one, and its corrosive blood melts his helmet. The deformed and mutated Fifield returns to the Prometheus, where he attacks the crew and murders several members before he is killed.

Engineers the original prequel, wrote Fifield as changing directly into an Alien from the black mutagen, tying the film into the Alien canon. During its evolution into Prometheus, Ridley Scott decided to diverge from the previous films and establish a separate canon.

The character's final depiction retained Fifield's human appearance. Millburn Rafe Spall is a biologist who is a part of the Prometheus expedition. After awakening, he tries to become friends with Fifield who rejects him.

Millburn joins the initial expedition to the Engineers' artificial structure concealing the Juggernaut, tagging along with Fifield after he is upset by the number of corpses.

Separated from the rest of the expedition, they are stranded in the ship. Millburn and Fifield enter the room containing the thawed black liquid and encounter the Hammerpedes.

When Millburn tries to pet one it attacks him, breaking his arm and jumping down his throat. When the crew of the Prometheus returns the next day, they find Millburn's body with the Hammerpede still in his throat.

Spall auditioned for another role, but Ridley Scott asked him to play Millburn. Spall defended his character, citing a deleted scene where Millburn holds a smaller, docile Hammerpede.

Walter One Michael Fassbender is an android and first member of the Walter line - made to replace the David line - serving aboard the colony ship Covenant. Walter maintains the ship while the colonists are in cryosleep when there is an unexpected neutrino flare from a nearby star, which damages the ship, forcing him to awaken the crew.

After Christopher Oram orders the ship to divert from Origae-6 for the closer and more habitable Engineer home world, Walter joins the expedition force that lands on the planet. In the ensuing Alien outbreak, he is attacked by a Neomorph, which bites off his hand.

He joins the survivors in taking refuge at David's base, where he becomes acquainted with David and their differences in programming are revealed in one another. Walter surmises that David killed Shaw and when he confronts him about this fact and refuses David's offer to join him, David impales him with a flute, seemingly destroying him.

Walter temporarily recovers and engages David in a melee — David emerges victorious and assumes Walter's identity. Daniels Katherine Waterston is a terraforming expert serving aboard the colony ship Covenant.

She awakens from cryosleep when the ship is damaged by a neutrino burst from a nearby star, resulting in the death of her husband and the captain of Covenant, Jacob Branson.

When Shaw's transmission is traced back to the habitable Engineer home world, Daniels repeatedly states her discontentment with veering off course with the new captain, Christopher Oram.

Daniels joins the expedition down to the surface of the planet, where she discovers Shaw's identification card. When the lander explodes, Daniels prevents Christopher from getting himself killed and is subsequently attacked by a Neomorph.

David intervenes, and Daniels joins him and the rest of the survivors back to his base. Daniels orders Tennessee to extract them immediately. She is assaulted by David, who forces himself on her, but Walter intervenes, allowing Daniels to reach the cargo lander.

The lander is boarded by an Alien, prompting Daniels to exit the vehicle and help kill it herself. Aboard Covenant, which Daniels is now in command of, another Alien is detected, forcing her, Tennessee and David, secretly disguised as Walter, to work together to dispose of it.

Daniels and Tennessee lure the Alien to the terraforming bay, where they impale and eject it into space. The last human awake, Daniels is being returned to cryosleep by David, who inadvertently reveals his identity by not being able to recount Daniels' fantasy about building a log cabin by a lake, which she had previously recounted to Walter.

Horrified, but unable to escape, Daniels is returned to stasis. With Branson's death as a result of the neutrino flair from the nearby star, Christopher becomes the captain of Covenant, though he perceives his command as being questioned by Daniels and the other crew members.

When Shaw's transmission is received from the habitable Engineer home world, Christopher orders Covenant to divert to the planet, though his judgment is met with protests from Daniels.

After leading a ground expedition to the crashed Engineer ship, Christopher returns to the lander to see it explode. Christopher accepts David's aid on behalf of the survivors and accompanies David back to his base.

He searches for Rosenthal, who he finds decapitated, along with David communicating with the Neomorph that killed her. Christopher kills the Neomorph and holds David at gunpoint, demanding an explanation for his activities.

David leads him to his makeshift laboratory, as well as a hatchery, where he keeps a number of Alien eggs. David goads Christopher into approaching an egg, which results in a Facehugger attacking and impregnating him.

Christopher is awoken a short time later by David, only to have the first Alien chestburster erupt from his chest, killing him. During a space walk to repair the solar recharge sails of the Covenant, Tennessee inadvertently intercepts a signal from Shaw, which prompts the colonization mission to divert towards the signal's source.

While the brunt of the crew embarks on an excursion to the surface of the Engineer home world, Tennessee pilots Covenant in high orbit. Due to an ionic storm, he is unable to have adequate communication with the expedition.

To regain communications, Tennessee brings Covenant dangerously close to the storm, which allows Daniels to privately reveal to him that Maggie is dead. Tennessee pilots a cargo lander down to the surface of the planet and extracts Daniels, Lope and David impersonating Walter, assisting with killing an Alien in the process.

Aboard Covenant, the crew is alerted to an Alien stowaway, prompting Tennessee to work with Daniels to dispose of it. They lure it to the terraforming bay, where it is ejected into space.

Tennessee subsequently returns to cryosleep before Daniels does. Lope leads the excursion on the planet's surface to the crashed Engineer ship. On the journey back to the lander, Lope notices Hallett's condition deteriorating, which alarms him.

Upon reaching the lander, the ship explodes and a Neomorph attacks while another bursts from his husband's throat. A Neomorph attacks Lope when David intervenes and leads the survivors to his base, where Lope discovers Shaw's corpse.

He is attacked by a Facehugger, but he is quickly and seemingly saved by Cole, who manages to cut it off him, though his face is severely burned by acid in the process. As Cole is killed by a now mature Alien, Lope escapes with the other survivors to the cargo lander.

Aboard Covenant, Lope receives medical treatment, but dies when an Alien erupts from his chest, revealing that despite the short time that the Facehugger was on him, it succeeded in impregnating him.

After Branson dies and her husband becomes the new captain of the Covenant, Karine reassures him when he questions whether the crew respects him as their new leader. During the ground expedition towards the crashed Engineer ship, Karine diverts off the path to collect samples for research.

Her escort, Ledward, becomes ill from his alien infestation, prompting Karine to help him back to the lander. While attempting to provide Ledward with medical assistance, Maggie Faris witnesses the beginnings of a severe infection on Ledward's back.

Out of fear, she locks Karine in with him. A Neomorphs bursts out of Ledward's back and mauls Karine to death. Faris pilots the lander carrying the excursion team down through the ionic storm, to the surface of the planet.

While the excursion team makes their way to the crashed Engineer ship, Faris stays with the lander, to calibrate its instruments and communicate with Tennessee. She receives communications from Karine Oram that Ledward is ill, prompting her to prepare the medical bay.

Upon seeing Ledward's deadly and potentially contagious condition, Faris locks Karine and him in the medical bay, refusing to allow Karine to escape. When the Neomorph emerges and escapes the room, Faris arms herself and attempts to kill it.

In the process, she inadvertently damages the lander, causing it to explode. A burning Faris stumbles out of the ship and succumbs to her injuries on the foot ramp. Ricks Jussie Smollett is a navigator serving aboard the Covenant and Upworth's husband.

While the excursion team departs down to the Engineer home world, Ricks stays in the cockpit of the Covenant alongside Tennessee and Upworth. As Tennessee brings the ship within eighty kilometers of the ionic storm, Ricks protests with his wife.

When Tennessee looks to come within forty kilometers, Ricks once again protests with Upworth, but relents when she agrees to utilize the command override to reduce altitude. After the survivors from the excursion are rescued, Ricks and Upworth have sex in the shower.

Midway through, a stowaway Alien prods Upworth with its tail and impales Ricks through the back of his head, killing him before moving on to Upworth. Upworth Callie Hernandez is a medic serving aboard the Covenant and Ricks' wife.

She is the first crew member to imply a collective crew-hesitancy over returning to hypersleep after the ship's computer "Mother" locates the Denver song transmission's source. When Tennessee takes the ship down to within eighty kilometers of the ionic storm, Upworth protests alongside her husband.

After Tennessee receives word about the expedition's casualties and insists that the Covenant be brought down within forty kilometers of the ionic storm, putting the ship in jeopardy, Upworth protests again.

However, she has a change of heart and cooperates with Tennessee by initiating the command override, allowing the ship to get dangerously close. After the survivors return to the Covenant, Upworth provides a rudimentary treatment for Lope's acid burns, though she admits he will need reconstructive surgery.

Upworth and Ricks have sex in the shower, but are interrupted when a stowaway Alien prods Upworth between her legs with its tail and kills Ricks, covering her in blood.

The Alien kills her in the shower immediately afterwards. He embarks on the expedition to the source of Shaw's signal. At the entrance of the crashed Engineer ship, Hallett observes mutated floral pods, which he squeezes, causing the airborne mutagen to be inhaled through his nose.

By the time the expedition departs from the crash site, Hallett begins to show symptoms of the parasite, which worries Lope. As they make their way back to the lander, Hallett's condition drastically deteriorates.

Upon reaching the lander, which explodes, a Neomorph bursts from Hallett's throat, killing him. Ankor Alexander England is a member of the security unit aboard the Covenant. Shortly after awakening from the neutrino burst, he attempts to save Branson from his cryosleep pod, but he is unable to in time and the captain is burnt to death.

Ankor assists Tennessee with the space walk for repairing the solar recharge sails. Ankor is a part of the expedition to the surface of the Engineer home world, where they set off to investigate the intercepted signal at the crashed Engineer ship.

Upon returning to the lander and witnessing it explode, the expedition is ambushed by two Neomorphs. Ankor shoots one of them, but the creature responds by whipping his jaw off with its tail, killing him instantly.

Ledward Benjamin Rigby is a member of the security unit aboard the Covenant. He is a member of the expedition tracking the signal leading to the crashed Engineer ship on the surface of the Engineer homeworld.

Shortly after disembarking from the lander, Ledward is assigned by Lope to escort Karine Oram as she takes samples from the local ecosystem. Ledward excuses himself from his duties momentarily to smoke and urinate, during which time, he disturbs a mutated floral pod, causing airborne mutagen to enter his ear canal.

His health immediately deteriorates and he is assisted to the lander by Karine. Inside the lander's medical bay, Faris locks Ledward and Karine in the room, where the first Neomorph bursts out of his spine, killing him.

From Wikipedia, the free encyclopedia. Alien creature in Alien franchise. Alien Anthology Crew Dossier Blu-ray special feature. Directed by Ridley Scott. Screenplay by Dan O'Bannon. Director of Photography Derek Vanlint.

Edited by Terry Rawlings. Music by Jerry Goldsmith. The Virgin Islands Daily News. Retrieved April 19, Directed by James Cameron. Produced by Gale Ann Hurd. Screenplay by James Cameron. Director of Photography Adrian Biddle.

Music by James Horner. Edited by Ray Lovejoy. Directed by David Fincher. Story by Vincent Ward. Cinematography by Alex Thomson. Music by Elliot Goldenthal. Retrieved March 31, Archived from the original on July 26, Retrieved April 18, Archived from the original on September 14, Retrieved April 20, Retrieved April 21, Alien DVD audio commentary track.

The Making of 'Alien' Motion picture documentary. The Nigerian giant who played 'Alien ' ". Retrieved April 22, Archived from the original on January 6, Retrieved January 31, The Sydney Morning Herald.

Retrieved March 6, Story by Jack Paglen and Michael Green. Screenplay by John Logan and Dante Harper. Director of Photography Dariusz Wolski. Edited by Pietro Scalia.

Music by Jed Kurzel. Retrieved 25 May Written by Jon Spaihts and Damon Lindelof. Cinematography by Dariusz Wolski. Music by Marc Streitenfeld. Retrieved April 25, Colonial Marines Video game.

The boatmen and clam-diggers arose early and stopt for me, I tuck'd my trowser-ends in my boots and went and had a good time; You should have been with us that day round the chowder-kettle. I saw the marriage of the trapper in the open air in the far west, the bride was a red girl, Her father and his friends sat near cross-legged and dumbly smoking, they had moccasins to their feet and large thick blankets hanging from their shoulders, On a bank lounged the trapper, he was drest mostly in skins, his luxuriant beard and curls protected his neck, he held his bride by the hand, She had long eyelashes, her head was bare, her coarse straight locks descended upon her voluptuous limbs and reach'd to her feet.

The runaway slave came to my house and stopt outside, I heard his motions crackling the twigs of the woodpile, Through the swung half-door of the kitchen I saw him limpsy and weak, And went where he sat on a log and led him in and assured him, And brought water and fill'd a tub for his sweated body and bruis'd feet, And gave him a room that enter'd from my own, and gave him some coarse clean clothes, And remember perfectly well his revolving eyes and his awkwardness, And remember putting piasters on the galls of his neck and ankles; He staid with me a week before he was recuperated and pass'd north, I had him sit next me at table, my fire-lock lean'd in the corner.

She owns the fine house by the rise of the bank, She hides handsome and richly drest aft the blinds of the window. Which of the young men does she like the best? Ah the homeliest of them is beautiful to her.

Where are you off to, lady? Dancing and laughing along the beach came the twenty-ninth bather, The rest did not see her, but she saw them and loved them. The beards of the young men glisten'd with wet, it ran from their long hair, Little streams pass'd all over their bodies.

An unseen hand also pass'd over their bodies, It descended tremblingly from their temples and ribs. The young men float on their backs, their white bellies bulge to the sun, they do not ask who seizes fast to them, They do not know who puffs and declines with pendant and bending arch, They do not think whom they souse with spray.

Blacksmiths with grimed and hairy chests environ the anvil, Each has his main-sledge, they are all out, there is a great heat in the fire. From the cinder-strew'd threshold I follow their movements, The lithe sheer of their waists plays even with their massive arms, Overhand the hammers swing, overhand so slow, overhand so sure, They do not hasten, each man hits in his place.

I behold the picturesque giant and love him, and I do not stop there, I go with the team also. In me the caresser of life wherever moving, backward as well as forward sluing, To niches aside and junior bending, not a person or object missing, Absorbing all to myself and for this song.

Oxen that rattle the yoke and chain or halt in the leafy shade, what is that you express in your eyes? It seems to me more than all the print I have read in my life. My tread scares the wood-drake and wood-duck on my distant and day-long ramble, They rise together, they slowly circle around.

I believe in those wing'd purposes, And acknowledge red, yellow, white, playing within me, And consider green and violet and the tufted crown intentional, And do not call the tortoise unworthy because she is not something else, And the in the woods never studied the gamut, yet trills pretty well to me, And the look of the bay mare shames silliness out of me.

The sharp-hoof'd moose of the north, the cat on the house-sill, the chickadee, the prairie-dog, The litter of the grunting sow as they tug at her teats, The brood of the turkey-hen and she with her half-spread wings, I see in them and myself the same old law.

The press of my foot to the earth springs a hundred affections, They scorn the best I can do to relate them. I am enamour'd of growing out-doors, Of men that live among cattle or taste of the ocean or woods, Of the builders and steerers of ships and the wielders of axes and mauls, and the drivers of horses, I can eat and sleep with them week in and week out.

What is commonest, cheapest, nearest, easiest, is Me, Me going in for my chances, spending for vast returns, Adorning myself to bestow myself on the first that will take me, Not asking the sky to come down to my good will, Scattering it freely forever.

The drover watching his drove sings out to them that would stray, The pedler sweats with his pack on his back, the purchaser higgling about the odd cent; The bride unrumples her white dress, the minute-hand of the clock moves slowly, The opium-eater reclines with rigid head and just-open'd lips, The prostitute draggles her shawl, her bonnet bobs on her tipsy and pimpled neck, The crowd laugh at her blackguard oaths, the men jeer and wink to each other, Miserable!

I do not laugh at your oaths nor jeer you; The President holding a cabinet council is surrounded by the great Secretaries, On the piazza walk three matrons stately and friendly with twined arms, The crew of the fish-smack pack repeated layers of halibut in the hold, The Missourian crosses the plains toting his wares and his cattle, As the fare-collector goes through the train he gives notice by the jingling of loose change, The floor-men are laying the floor, the tinners are tinning the roof, the masons are calling for mortar, In single file each shouldering his hod pass onward the laborers; Seasons pursuing each other the indescribable crowd is gather'd, it is the fourth of Seventh-month, what salutes of cannon and small arms!

I resist any thing better than my own diversity, Breathe the air but leave plenty after me, And am not stuck up, and am in my place. The moth and the fish-eggs are in their place, The bright suns I see and the dark suns I cannot see are in their place, The palpable is in its place and the impalpable is in its place.

This is the grass that grows wherever the land is and the water is, This the common air that bathes the globe. Have you heard that it was good to gain the day? I also say it is good to fall, battles are lost in the same spirit in which they are won.

I beat and pound for the dead, I blow through my embouchures my loudest and gayest for them. Vivas to those who have fail'd! And to those whose war-vessels sank in the sea! And to those themselves who sank in the sea!

And to all generals that lost engagements, and all overcome heroes! And the numberless unknown heroes equal to the greatest heroes known! This is the press of a bashful hand, this the float and odor of hair, This the touch of my lips to yours, this the murmur of yearning, This the far-off depth and height reflecting my own face, This the thoughtful merge of myself, and the outlet again.

Do you guess I have some intricate purpose? Well I have, for the Fourth-month showers have, and the mica on the side of a rock has. Do you take it I would astonish?

Does the daylight astonish? Do I astonish more than they? This hour I tell things in confidence, I might not tell everybody, but I will tell you. What is a man anyhow? All I mark as my own you shall offset it with your own, Else it were time lost listening to me.

I do not snivel that snivel the world over, That months are vacuums and the ground but wallow and filth. Whimpering and truckling fold with powders for invalids, conformity goes to the fourth-remov'd, I wear my hat as I please indoors or out.

Why should I pray? Having pried through the strata, analyzed to a hair, counsel'd with doctors and calculated close, I find no sweeter fat than sticks to my own bones. In all people I see myself, none more and not one a barley-corn less, And the good or bad I say of myself I say of them.

I know I am solid and sound, To me the converging objects of the universe perpetually flow, All are written to me, and I must get what the writing means.

I know I am deathless, I know this orbit of mine cannot be swept by a carpenter's compass, I know I shall not pass like a child's carlacue cut with a burnt stick at night. I know I am august, I do not trouble my spirit to vindicate itself or be understood, I see that the elementary laws never apologize, I reckon I behave no prouder than the level I plant my house by, after all.

I exist as I am, that is enough, If no other in the world be aware I sit content, And if each and all be aware I sit content. One world is aware and by far the largest to me, and that is myself, And whether I come to my own to-day or in ten thousand or ten million years, I can cheerfully take it now, or with equal cheerfulness I can wait.

My foothold is tenon'd and mortis'd in granite, I laugh at what you call dissolution, And I know the amplitude of time. I am the poet of the woman the same as the man, And I say it is as great to be a woman as to be a man, And I say there is nothing greater than the mother of men.

I chant the chant of dilation or pride, We have had ducking and deprecating about enough, I show that size is only development. Have you outstript the rest? It is a trifle, they will more than arrive there every one, and still pass on.

I am he that walks with the tender and growing night, I call to the earth and sea half-held by the night. Press close bare-bosom'd night--press close magnetic nourishing night!

Night of south winds--night of the large few stars! Still nodding night--mad naked summer night. Smile O voluptuous cool-breath'd earth! Earth of the slumbering and liquid trees! Earth of departed sunset--earth of the mountains misty-topt!

Earth of the vitreous pour of the full moon just tinged with blue! Earth of shine and dark mottling the tide of the river! Earth of the limpid gray of clouds brighter and clearer for my sake! Far-swooping elbow'd earth--rich apple-blossom'd earth!

Smile, for your lover comes. Prodigal, you have given me love--therefore I to you give love! O unspeakable passionate love. I resign myself to you also--I guess what you mean, I behold from the beach your crooked fingers, I believe you refuse to go back without feeling of me, We must have a turn together, I undress, hurry me out of sight of the land, Cushion me soft, rock me in billowy drowse, Dash me with amorous wet, I can repay you.

Sea of stretch'd ground-swells, Sea breathing broad and convulsive breaths, Sea of the brine of life and of unshovell'd yet always-ready graves, Howler and scooper of storms, capricious and dainty sea, I am integral with you, I too am of one phase and of all phases.

Partaker of influx and efflux I, extoller of hate and conciliation, Extoller of amies and those that sleep in each others' arms. I am he attesting sympathy, Shall I make my list of things in the house and skip the house that supports them?

I am not the poet of goodness only, I do not decline to be the poet of wickedness also. What blurt is this about virtue and about vice? Evil propels me and reform of evil propels me, I stand indifferent, My gait is no fault-finder's or rejecter's gait, I moisten the roots of all that has grown.

Did you fear some scrofula out of the unflagging pregnancy? Did you guess the celestial laws are yet to be work'd over and rectified? I find one side a balance and the antipedal side a balance, Soft doctrine as steady help as stable doctrine, Thoughts and deeds of the present our rouse and early start.

This minute that comes to me over the past decillions, There is no better than it and now. What behaved well in the past or behaves well to-day is not such wonder, The wonder is always and always how there can be a mean man or an infidel.

And mine a word of the modern, the word En-Masse. A word of the faith that never balks, Here or henceforward it is all the same to me, I accept Time absolutely. It alone is without flaw, it alone rounds and completes all, That mystic baffling wonder alone completes all.

I accept Reality and dare not question it, Materialism first and last imbuing. Hurrah for positive science! Fetch stonecrop mixt with cedar and branches of lilac, This is the lexicographer, this the chemist, this made a grammar of the old cartouches, These mariners put the ship through dangerous unknown seas.

This is the geologist, this works with the scalper, and this is a mathematician. Gentlemen, to you the first honors always! Your facts are useful, and yet they are not my dwelling, I but enter by them to an area of my dwelling.

Less the reminders of properties told my words, And more the reminders they of life untold, and of freedom and extrication, And make short account of neuters and geldings, and favor men and women fully equipt, And beat the gong of revolt, and stop with fugitives and them that plot and conspire.

Unscrew the locks from the doors! Unscrew the doors themselves from their jambs! Whoever degrades another degrades me, And whatever is done or said returns at last to me.

Through me the afflatus surging and surging, through me the current and index. I speak the pass-word primeval, I give the sign of democracy, By God! I will accept nothing which all cannot have their counterpart of on the same terms.

Through me many long dumb voices, Voices of the interminable generations of prisoners and slaves, Voices of the diseas'd and despairing and of thieves and dwarfs, Voices of cycles of preparation and accretion, And of the threads that connect the stars, and of wombs and of the father-stuff, And of the rights of them the others are down upon, Of the deform'd, trivial, flat, foolish, despised, Fog in the air, beetles rolling balls of dung.

Through me forbidden voices, Voices of sexes and lusts, voices veil'd and I remove the veil, Voices indecent by me clarified and transfigur'd. I do not press my fingers across my mouth, I keep as delicate around the bowels as around the head and heart, Copulation is no more rank to me than death is.

I believe in the flesh and the appetites, Seeing, hearing, feeling, are miracles, and each part and tag of me is a miracle. Divine am I inside and out, and I make holy whatever I touch or am touch'd from, The scent of these arm-pits aroma finer than prayer, This head more than churches, bibles, and all the creeds.

If I worship one thing more than another it shall be the spread of my own body, or any part of it, Translucent mould of me it shall be you! Shaded ledges and rests it shall be you!

Firm masculine colter it shall be you! Whatever goes to the tilth of me it shall be you! You my rich blood! Breast that presses against other breasts it shall be you!

My brain it shall be your occult convolutions! Root of wash'd sweet-flag! Mix'd tussled hay of head, beard, brawn, it shall be you! Trickling sap of maple, fibre of manly wheat, it shall be you!

Sun so generous it shall be you! Vapors lighting and shading my face it shall be you! You sweaty brooks and dews it shall be you! Winds whose soft-tickling genitals rub against me it shall be you!

Broad muscular fields, branches of live oak, loving lounger in my winding paths, it shall be you! Hands I have taken, face I have kiss'd, mortal I have ever touch'd, it shall be you.

I dote on myself, there is that lot of me and all so luscious, Each moment and whatever happens thrills me with joy, I cannot tell how my ankles bend, nor whence the cause of my faintest wish, Nor the cause of the friendship I emit, nor the cause of the friendship I take again.

That I walk up my stoop, I pause to consider if it really be, A morning-glory at my window satisfies me more than the metaphysics of books. To behold the day-break! The little light fades the immense and diaphanous shadows, The air tastes good to my palate.

Hefts of the moving world at innocent gambols silently rising freshly exuding, Scooting obliquely high and low. Something I cannot see puts upward libidinous prongs, Seas of bright juice suffuse heaven.

The earth by the sky staid with, the daily close of their junction, The heav'd challenge from the east that moment over my head, The mocking taunt, See then whether you shall be master!

We also ascend dazzling and tremendous as the sun, We found our own O my soul in the calm and cool of the daybreak. My voice goes after what my eyes cannot reach, With the twirl of my tongue I encompass worlds and volumes of worlds.

Speech is the twin of my vision, it is unequal to measure itself, It provokes me forever, it says sarcastically, Walt you contain enough, why don't you let it out then?

Come now I will not be tantalized, you conceive too much of articulation, Do you not know O speech how the buds beneath you are folded? Waiting in gloom, protected by frost, The dirt receding before my prophetical screams, I underlying causes to balance them at last, My knowledge my live parts, it keeping tally with the meaning of all things, Happiness, which whoever hears me let him or her set out in search of this day.

My final merit I refuse you, I refuse putting from me what I really am, Encompass worlds, but never try to encompass me, I crowd your sleekest and best by simply looking toward you.

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What is a man anyhow? All I mark as my own you shall offset it with your own, Else it were time lost listening to me. I do not snivel that snivel the world over, That months are vacuums and the ground but wallow and filth.

Whimpering and truckling fold with powders for invalids, conformity goes to the fourth-remov'd, I wear my hat as I please indoors or out. Why should I pray? Having pried through the strata, analyzed to a hair, counsel'd with doctors and calculated close, I find no sweeter fat than sticks to my own bones.

In all people I see myself, none more and not one a barley-corn less, And the good or bad I say of myself I say of them. I know I am solid and sound, To me the converging objects of the universe perpetually flow, All are written to me, and I must get what the writing means.

I am he that walks with the tender and growing night, I call to the earth and sea half-held by the night. Press close bare-bosom'd night--press close magnetic nourishing night!

Night of south winds--night of the large few stars! Still nodding night--mad naked summer night. Smile O voluptuous cool-breath'd earth! Earth of the slumbering and liquid trees!

Earth of departed sunset--earth of the mountains misty-topt! Earth of the vitreous pour of the full moon just tinged with blue! Earth of shine and dark mottling the tide of the river! Earth of the limpid gray of clouds brighter and clearer for my sake!

Far-swooping elbow'd earth--rich apple-blossom'd earth! Smile, for your lover comes. Prodigal, you have given me love--therefore I to you give love! O unspeakable passionate love.

I resign myself to you also--I guess what you mean, I behold from the beach your crooked fingers, I believe you refuse to go back without feeling of me, We must have a turn together, I undress, hurry me out of sight of the land, Cushion me soft, rock me in billowy drowse, Dash me with amorous wet, I can repay you.

Unscrew the locks from the doors! Unscrew the doors themselves from their jambs! Whoever degrades another degrades me, And whatever is done or said returns at last to me.

If I worship one thing more than another it shall be the spread of my own body, or any part of it, Translucent mould of me it shall be you! Shaded ledges and rests it shall be you! Firm masculine colter it shall be you!

Whatever goes to the tilth of me it shall be you! You my rich blood! Breast that presses against other breasts it shall be you! My brain it shall be your occult convolutions!

Root of wash'd sweet-flag! Mix'd tussled hay of head, beard, brawn, it shall be you! Trickling sap of maple, fibre of manly wheat, it shall be you! Sun so generous it shall be you! Vapors lighting and shading my face it shall be you!

You sweaty brooks and dews it shall be you! Winds whose soft-tickling genitals rub against me it shall be you! Broad muscular fields, branches of live oak, loving lounger in my winding paths, it shall be you!

Hands I have taken, face I have kiss'd, mortal I have ever touch'd, it shall be you. I dote on myself, there is that lot of me and all so luscious, Each moment and whatever happens thrills me with joy, I cannot tell how my ankles bend, nor whence the cause of my faintest wish, Nor the cause of the friendship I emit, nor the cause of the friendship I take again.

The earth by the sky staid with, the daily close of their junction, The heav'd challenge from the east that moment over my head, The mocking taunt, See then whether you shall be master!

Speech is the twin of my vision, it is unequal to measure itself, It provokes me forever, it says sarcastically, Walt you contain enough, why don't you let it out then? Come now I will not be tantalized, you conceive too much of articulation, Do you not know O speech how the buds beneath you are folded?

Waiting in gloom, protected by frost, The dirt receding before my prophetical screams, I underlying causes to balance them at last, My knowledge my live parts, it keeping tally with the meaning of all things, Happiness, which whoever hears me let him or her set out in search of this day.

My final merit I refuse you, I refuse putting from me what I really am, Encompass worlds, but never try to encompass me, I crowd your sleekest and best by simply looking toward you. Writing and talk do not prove me, I carry the plenum of proof and every thing else in my face, With the hush of my lips I wholly confound the skeptic.

I hear bravuras of birds, bustle of growing wheat, gossip of flames, clack of sticks cooking my meals, I hear the sound I love, the sound of the human voice, I hear all sounds running together, combined, fused or following, Sounds of the city and sounds out of the city, sounds of the day and night, Talkative young ones to those that like them, the loud laugh of work-people at their meals, The angry base of disjointed friendship, the faint tones of the sick, The judge with hands tight to the desk, his pallid lips pronouncing a death-sentence, The heave'e'yo of stevedores unlading ships by the wharves, the refrain of the anchor-lifters, The ring of alarm-bells, the cry of fire, the whirr of swift-streaking engines and hose-carts with premonitory tinkles and color'd lights, The steam-whistle, the solid roll of the train of approaching cars, The slow march play'd at the head of the association marching two and two, They go to guard some corpse, the flag-tops are draped with black muslin.

I hear the violoncello, 'tis the young man's heart's complaint, I hear the key'd cornet, it glides quickly in through my ears, It shakes mad-sweet pangs through my belly and breast.

I hear the chorus, it is a grand opera, Ah this indeed is music--this suits me. A tenor large and fresh as the creation fills me, The orbic flex of his mouth is pouring and filling me full.

I hear the train'd soprano what work with hers is this? The orchestra whirls me wider than Uranus flies, It wrenches such ardors from me I did not know I possess'd them, It sails me, I dab with bare feet, they are lick'd by the indolent waves, I am cut by bitter and angry hail, I lose my breath, Steep'd amid honey'd morphine, my windpipe throttled in fakes of death, At length let up again to feel the puzzle of puzzles, And that we call Being.

Round and round we go, all of us, and ever come back thither, If nothing lay more develop'd the quahaug in its callous shell were enough. Mine is no callous shell, I have instant conductors all over me whether I pass or stop, They seize every object and lead it harmlessly through me.

I merely stir, press, feel with my fingers, and am happy, To touch my person to some one else's is about as much as I can stand. The sentries desert every other part of me, They have left me helpless to a red marauder, They all come to the headland to witness and assist against me.

I am given up by traitors, I talk wildly, I have lost my wits, I and nobody else am the greatest traitor, I went myself first to the headland, my own hands carried me there. Did it make you ache so, leaving me?

Parting track'd by arriving, perpetual payment of perpetual loan, Rich showering rain, and recompense richer afterward. Sprouts take and accumulate, stand by the curb prolific and vital, Landscapes projected masculine, full-sized and golden.

Logic and sermons never convince, The damp of the night drives deeper into my soul. Only what proves itself to every man and woman is so, Only what nobody denies is so. A minute and a drop of me settle my brain, I believe the soggy clods shall become lovers and lamps, And a compend of compends is the meat of a man or woman, And a summit and flower there is the feeling they have for each other, And they are to branch boundlessly out of that lesson until it becomes omnific, And until one and all shall delight us, and we them.

I find I incorporate gneiss, coal, long-threaded moss, fruits, grains, esculent roots, And am stucco'd with quadrupeds and birds all over, And have distanced what is behind me for good reasons, But call any thing back again when I desire it.

In vain the speeding or shyness, In vain the plutonic rocks send their old heat against my approach, In vain the mastodon retreats beneath its own powder'd bones, In vain objects stand leagues off and assume manifold shapes, In vain the ocean settling in hollows and the great monsters lying low, In vain the buzzard houses herself with the sky, In vain the snake slides through the creepers and logs, In vain the elk takes to the inner passes of the woods, In vain the razor-bill'd auk sails far north to Labrador, I follow quickly, I ascend to the nest in the fissure of the cliff.

They do not sweat and whine about their condition, They do not lie awake in the dark and weep for their sins, They do not make me sick discussing their duty to God, Not one is dissatisfied, not one is demented with the mania of owning things, Not one kneels to another, nor to his kind that lived thousands of years ago, Not one is respectable or unhappy over the whole earth.

So they show their relations to me and I accept them, They bring me tokens of myself, they evince them plainly in their possession. I wonder where they get those tokens, Did I pass that way huge times ago and negligently drop them?

Myself moving forward then and now and forever, Gathering and showing more always and with velocity, Infinite and omnigenous, and the like of these among them, Not too exclusive toward the reachers of my remembrancers, Picking out here one that I love, and now go with him on brotherly terms.

A gigantic beauty of a stallion, fresh and responsive to my caresses, Head high in the forehead, wide between the ears, Limbs glossy and supple, tail dusting the ground, Eyes full of sparkling wickedness, ears finely cut, flexibly moving.

His nostrils dilate as my heels embrace him, His well-built limbs tremble with pleasure as we race around and return. I but use you a minute, then I resign you, stallion, Why do I need your paces when I myself out-gallop them?

Even as I stand or sit passing faster than you. My ties and ballasts leave me, my elbows rest in sea-gaps, I skirt sierras, my palms cover continents, I am afoot with my vision.

I visit the orchards of spheres and look at the product, And look at quintillions ripen'd and look at quintillions green. I fly those flights of a fluid and swallowing soul, My course runs below the soundings of plummets.

I help myself to material and immaterial, No guard can shut me off, no law prevent me. I anchor my ship for a little while only, My messengers continually cruise away or bring their returns to me.

I go hunting polar furs and the seal, leaping chasms with a pike-pointed staff, clinging to topples of brittle and blue. I ascend to the foretruck, I take my place late at night in the crow's-nest, We sail the arctic sea, it is plenty light enough, Through the clear atmosphere I stretch around on the wonderful beauty, The enormous masses of ice pass me and I pass them, the scenery is plain in all directions, The white-topt mountains show in the distance, I fling out my fancies toward them, We are approaching some great battle-field in which we are soon to be engaged, We pass the colossal outposts of the encampment, we pass with still feet and caution, Or we are entering by the suburbs some vast and ruin'd city, The blocks and fallen architecture more than all the living cities of the globe.

I am a free companion, I bivouac by invading watchfires, I turn the bridgroom out of bed and stay with the bride myself, I tighten her all night to my thighs and lips. My voice is the wife's voice, the screech by the rail of the stairs, They fetch my man's body up dripping and drown'd.

I understand the large hearts of heroes, The courage of present times and all times, How the skipper saw the crowded and rudderless wreck of the steamship, and Death chasing it up and down the storm, How he knuckled tight and gave not back an inch, and was faithful of days and faithful of nights, And chalk'd in large letters on a board, Be of good cheer, we will not desert you; How he follow'd with them and tack'd with them three days and would not give it up, How he saved the drifting company at last, How the lank loose-gown'd women look'd when boated from the side of their prepared graves, How the silent old-faced infants and the lifted sick, and the sharp-lipp'd unshaved men; All this I swallow, it tastes good, I like it well, it becomes mine, I am the man, I suffer'd, I was there.

The disdain and calmness of martyrs, The mother of old, condemn'd for a witch, burnt with dry wood, her children gazing on, The hounded slave that flags in the race, leans by the fence, blowing, cover'd with sweat, The twinges that sting like needles his legs and neck, the murderous buckshot and the bullets, All these I feel or am.

I am the hounded slave, I wince at the bite of the dogs, Hell and despair are upon me, crack and again crack the marksmen, I clutch the rails of the fence, my gore dribs, thinn'd with the ooze of my skin, I fall on the weeds and stones, The riders spur their unwilling horses, haul close, Taunt my dizzy ears and beat me violently over the head with whip-stocks.

Agonies are one of my changes of garments, I do not ask the wounded person how he feels, I myself become the wounded person, My hurts turn livid upon me as I lean on a cane and observe.

I am the mash'd fireman with breast-bone broken, Tumbling walls buried me in their debris, Heat and smoke I inspired, I heard the yelling shouts of my comrades, I heard the distant click of their picks and shovels, They have clear'd the beams away, they tenderly lift me forth.

I lie in the night air in my red shirt, the pervading hush is for my sake, Painless after all I lie exhausted but not so unhappy, White and beautiful are the faces around me, the heads are bared of their fire-caps, The kneeling crowd fades with the light of the torches.

Channel 4 News editor goes ahead and helps prove scottros' point. News UK gender pay gap report: Women paid higher bonuses at Archant, Newsquest and Midland News Association but more men receive them.

BBC's Annual Plan prioritises bringing the nation together and enhancing Britain on the global stage. Employees at Onion Inc. Club and our sister sites The Onion and ClickHole.

First, all of The A. Club's Vote to Unionize. More professionals organizing to protect their professionalism. They happen to be funny too, even if that was about the unfunniest line you could write http: They have to put it on av club or no one would believe it http: Fake news, clickbait still doing well after Facebook algorithm change.

Their victimhood complex is powerful One editor at a conservative site said in an email that, while he does believe there is bias at Facebook, some less established sites may simply be getting punished based on poor quality.

Fox News has actually seen its interaction rate on Facebook The National Review has also experienced an increase. Baidu's streaming video service iQiyi falls China's Netflix-like video platform iQiyi dips on Nasdaq debut.

Wall Street Journal staffers accuse editor of suppressing story. Now I'm hearing that the wsj's Gerry Baker, who says this graphic http: Because financial markets don't have anything to do with politics or society.

Charts of the Day: This is great journalism. Why did a senior WSJ editor want it pulled? WSJ's own editor allegedly tried to bury this smart data story. Important news about an attempt to censor Cezary's important work at the WSJ.

The Wall Street Journal on the decade since the crash: But that doesn't mean he wants to. CEO Daily for March 29, Facebook rolls out first batch of policy and platform changes post-Cambridge Analytica.

Finally read Facebook's privacy post; I appreciate this statement but it lacks instructions for moving my data to another service. My FB data export is basically a bunch of flat, non-computer readable garbage.

Facebook adding options for deleting your data to mobile app. Facebook working to simplify privacy controls in wake of recent controversies. What I have been saying. Don't give facebook any credit for proposed changes.

They were coming anyway. Facebook to stop allowing data brokers such as Experian to target users. A cynic's guide to Facebook's decision to dump third party data for advertising. Downloading Your Facebook Data?

Here's What to Look For. Ad industry sources slam Facebook's latest privacy move, say it actually consolidates Facebook's control. We also found that of the 29, categories Facebook offered to advertisers were from data brokers.

Facebook started working with data brokers in when it signed its first deal with Datalogix in Facebook is ending certain ad-targeting options to improve data privacy.

Facebook temporarily blocks new apps from joining its platform. Facebook cuts off data brokers. After Cambridge Analytica, some targeted ads on Facebook will become less targeted. In, my team began investigating how extensive Facebook's dossiers really were about its members.

We built a tool that let people see what Facebook says it knows about them, and share that information with us. Tim Cook cracks down on Facebook following the Cambridge Analytica data breach. Our position hasn't changed and this announcement is not in response to any incident.

Facebook is curbing information that it exchanges with companies that collect and sell consumer data for advertisers http: Facebook will no longer allow third-party data for targeting ads.

As part of a continuing effort to protect people's privacy, we will be winding down partner categories over the next 6 months. Once closed, 3rd party data will no longer be available to advertisers within our interfaces.

Facebook turns off ad targeting tool based on third-party data. You'll often see the toga worn by all kinds of Romans and Greeks. But in the Roman Republic and early to mid Empire the use of the toga was restricted to male citizens, and as it was hot and uncomfortable it tended to be worn only when absolutely necessary - in the Senate, for instance, or in a court of law.

Roman women wore very stylish and fashionable clothing - and their styles changed from season to season, just like ours - but they generally didn't wear the toga: The Greeks didn't wear the Roman toga at all but they did wear a variety of other garments, including one that looked quite like the "toga" worn by modern college Greeks There are a few examples of sculpture still retaining its paint.

One example in Turkey that had been buried underground was preserved well enough for restorers to see a faded version of the original color and infrared tech is now allowing us to see the invisible paints.

Many of the statues found by 19th century archeologists had visible traces of paint on them - which they then carefully scrubbed off, because that's not how they were supposed to look!

For togas, basic wool was used, starting white and dirtying with use. There was little washing outside of servants and those who did a large quantity of business went through 3 to 4 togas a year.

It was more or less standard in the way the black or dark blue suit is today and generally considered formal wear for business, in the Forum or elsewhere. The pure white toga candida colored with chalk was the uniform, so to speak, of men running for office, hence the word 'candidate.

Even then these were poor and the colors faded to pastels quickly. There were also special Togas besides the aforementioned toga candida: Toga Praetexta had a purple or maroon colored stripe around the border which represented a current magistrate, former magistrate, priest, or freeborn boys who were not yet men.

A black or grey toga called Toga Pulla was for mourning. When Caesar seized power he often wore this, which convinced people he was crazy enough to think himself a god - this led to his downfall. Fortunately the misconceptions are avoided in the series Rome, which portrays characters as accurately wearing the toga candida as noted above, but otherwise wearing colors appropriate to their rank such as the senators wearing Togas with the appropriate stripe.

Peasants wear a variety of colors, as do nobles, when not in a formal environment where the formal clothing must be worn. Of course this is also from the series that researched correct Roman graffiti, so hardly surprising.

Also, the 'toga' proper was only worn on very formal occasions; it was spectacularly impractical, using huge amounts of fabric and needing one arm constantly held up just to keep it on.

The clothes worn by most people most of the time are confused with togas, probably because it seems to have been loose and drape-y most of the time, but probably comprised a lot less fabric and more actual seams One example that even Rome failed to avoid is Ancient Greeks and Romans wearing wristbands.

Forearm armour did exist, but was not common; no culture of the Ancient world ever wore the things as standard part of their dress. Armbands and other forms of jewelry were of course worn but they would have looked quite different.

Yet, every movie, every TV series and every documentary about the period will show just about everyone wearing wristbands, and will frequently involve scenes showing them in loving detail as they are donned or taken off.

All because the early epics of Hollywood were supposed to look exotic, and they needed more ways to display the lavish riches of the Ancients Greek architecture is almost always shown to be austere marble.

At the time, it was austere marble covered over with bright, gaudy paints. Speaking of Greek architecture, they built some of the larger temples with pillars closer to the edges leaning slightly towards the middle to give the illusion to the viewer that they were completely vertical.

One notable exception being the Parthenon; the pillars on that one actually are straight. Might count as the first example of the trope. It was pointed out on QI by Jimmy Carr that in movies set in ancient Roman and Greek times the iconic buildings appear as ruins.

Usually caused by location shooting instead of mattes or CGI nowadays. Alternatively, movies tend to portray Rome as full of grandiosely planned monuments, streets and public buildings; in real life Imperial Rome was usually a mish-mash of things built decades if not centuries apart and many never-finished projects due to various reasons, such as the inevitable result of a government of fiercely ambitious and competing bureaucrats, unpredictable and abrupt regime changes, and several God complexes from various emperors.

The classic example of this is in Gladiator, where Commodus enters Rome along a long road in the middle of a large open space so that crowds can cheer him. Neither the road nor the open space existed until Mussolini's regime.

Similarly, movies featuring the ancient Egyptians tend to make the dominant building colors sand or gray because that's what the tombs and temples look like now, and what the audience has seen in pictures rather than the bright painted look that archaeologists have known for a long time they originally were.

The Pyramids are a perfect example of this. When they were originally constructed, they were covered in limestone and gold, so they would have been sparkling white with a gold tip.

But they're always sand colored in shows. The gold was actually stolen in the meantime, as was the limestone which was used for many buildings in Cairo. The Egyptian showed this in the opening scenes: Interestingly, a lot of video games set in Ancient Egypt avert this.

Whether that's because the developers did do their research or because they realized that normal people don't like to stare at variations of beige for hours on end is another question.

One intro movie even includes the golden pyramid tips, though in-game, the pyramids are only shiny, shiny white. The Sphinx is an even bigger example of this: This was maintained for centuries and was one of the most common forms of Sphinx.

There's also evidence that the face originally had a beard. Arabian-style music wasn't present during Ancient Egypt times, yet it is constantly used as a background music when Egypt is depicted.

At the moment, only the instruments played back then are known, but none of the actual music scriptures have been found. Giuseppe Verdi managed to avert this in Aida.

The chant and dance in the Temple Scene are based on Egyptian traditional songs brought to him by Edouard Mariette Bey, the Egyptian Museum director who asked Verdi to write this.

The skydiver simply pulls off the handle and throws it in the open air. The handle is connected on the drogue chute, which opens in the slipstream, and then deploys the main parachute.

The modern version of the last entry is that people apparently always walk around, even if actively hunting somebody or in battle, with their guns effectively unloaded.

They will then apply the up-to-date dramatic noise of chambering a round or cocking the hammer before firing. Truth in Television, for most westerns. Guns of the period tended to be dangerous to carry in a charged state—an unlucky bump could discharge the weapon prematurely.

Hence, most revolvers were loaded with five rounds and left uncocked on the empty sixth chamber. Repeaters and shotguns received similar treatment, requiring the showy pump to be ready to fire.

Lampshaded by Kiefer Sutherland in Phone Booth: You know like in the movies just as the good guy is about to kill the bad guy, he cocks his gun. Now why didn't he have it cocked?

Because that sound is scary. It's cool, isn't it? In many anime, most noticeably Rurouni Kenshin, every time a sword moves while drawn, it makes a metallic clicking noise.

The running across water is justified: The use of huge, gaudy onomatopoeia or, depending on how people describe the phenomenon, "sound effects", "Batman words", or even "noise words".

Martin Scorsese and Wes Anderson frequently do this. In an interesting inversion, when an older-model electronic flash is used, the noticeable whine many make as they recharge is usually absent.

This may be due to the sound effect having been co-opted by futuristic Noisy Guns. The sound effects used in hand-to-hand combat in the Indiana Jones films are extremely over-the-top e.

Ben Burtt, the sound designer for all the films, says on a DVD extra that he decided to make the punches over-the-top on purpose as he felt they were making a comic book brought to life.

Common also in Knight Rider: In only a few cases are there closeups of slow speed changes with the corresponding tick. In addition, no wide-angle shot includes audible ticking.

The serial The Phantom Empire, since it has a radio Show Within a Show, actually shows coconuts being used to make horse sounds. Being partly a Western, it no doubt had many traditional examples too.

An intentional example in Airplane! The creators originally wanted to use a propeller-driven DC-4 the one from Zero Hour, the movie on which its based, but Executive Meddling forced them to use a jet.

The image of the alien spacecraft in Independence Day sweeping over the flag on the moon is probably the most iconic sight of the film second only to the destruction of the White House.

In the Hyperion Cantos, farcasters are implanted with devices to make a person stepping through feel like he is traveling. Of course, nobody really knows if he is or not, but they do wait patiently.

This allowed programmers to tell, for instance, if the machine was executing a long loop, had stalled, etc. Only the Univac I did this, it was used almost exclusively in a back room at the U. Census bureau, and the beeping computer was quickly retired when faster computers were built in the late 50s.

However, when the machine was new, the marvelous "artificial brain" was demonstrated for TV news and documentaries. The "beep-beep-boop" sound then got a life of its own because there wasn't really anything else in a TV computer to tell the audience that the computer was doing anything.

Soon, all TV computers had to produce a series of beeps of various tones. The original Star Trek avoided this by having the computer's voice say "working The beeping sound was mandatory in TV-show computers well into the 80s, until the trope happened in reverse.

The humor is, of course, that the audience would expect the ball to double for an egg in the sketch, making it surprising when the Chef refers to what it really is. Battlestar Galactica did this when the Galactica warped into the upper atmosphere of a planet and immediately burst into flames.

Reentry fire comes from the massive sideways velocity any orbiting object has. The ship started from a dead stop, but most people equate falling from space with fire. But they probably did it because fire makes things cooler.

Potentially justified due to possibility that the flames were caused by the near-instantaneous displacement of an enormous volume of air caused by the Galactica's jump. Half of what the MythBusters do is based on this trope, testing out the way things work in reality vs.

Parodied in Gilmore Girls Ep. The warmth of analogue recordings is caused partly by tape hum, which often makes people think digital recordings sound cold and sterile by comparison.

We've gotten so used to hearing some type of post-processing on vocals be it reverb, double-tracking, flangers, phasers, you name it that just hearing raw vocals on a track can sound jarring.

This is why there's a science to the construction of auditoria and theatres used for live music. Thus some post-processing is required to make studio recordings sound more realistic.

They still do that. It's why fights backstage seem to fall a bit flat - the bumps don't have the same 'oomph' as bumps in the ring. Fans often tend to complain at the 'dead crowds' on WWE television.

The seemingly uninterested crowd are in fact very animated but the sound is just not being captured. If you watch fan footage recorded on someone's phone from the crowd, the noise is deafening.

If pro wrestlers didn't bleed as much as they do, spectators might suspect that they "aren't really hurting each other" even though they are, or that the staged fights aren't "realistic" enough.

The Mercury Theatre on the Air used the classic coconut effect in the first scene of the first episode, an adaptation of Dracula, as Jonathan Harker's coach makes its way to Dracula's castle.

Laser weapons in Rifts are said to come with built-in noisemakers to satisfy customers who expect sci-fi-style sounds when they're fired. Otherwise, they would be mostly silent.

Lasguns in the Warhammer 40, universe have explored every angle of this trope they could find. In the art and the video games they are huge highly-visible coconuts, because otherwise you wouldn't know they were firing.

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