The wheels take impact and stress off your legs, and the position helps your spine, but you’re still doing running motions instead of biking motions, so your legs are getting a good workout, and you can go for longer
Kinda reminds me of that guy who made a cardboard Blue Falcon wrapped around a big tricycle.
My milkshake brings all the boys to the yard and they’re like
“How did a milkshake manage to develop a gravitational pull that was gender specific?”
I lost it.
HE’S SO STRESSED ABOUT THE BOYS
I don’t watch Supernatural and sometimes it is just so hard to tell if some of these gifs really happened, if they’re fan made, or outtakes.
- One in three women report being a victim of domestic violence (30%).
- One in five women report being a victim of sexual assault (20%).
- 60% of Americans, 15 years or older, know a victim of domestic violence or sexual assault.
- Among the 70% of women who have experienced domestic violence and told somebody about it, more than half (58%) said that nobody helped them.
No more bystanding. No more ignorance. No more excuses.
Adrianne Haslet-Davis dances again for the first time since the Boston terrorist attack last year.
When the bombs went off at the Boston Marathon finish line, Adrianne Haslet-Davis lost the lower half of her left leg in the explosion. She’s a ballroom dance teacher, and she assumed she would never dance again. With most prosthetics, she wouldn’t.
But Hugh Herr, of the MIT Media Lab, wanted to find a way to help her. He created a bionic limb specifically for dancers, studying the way they move and adapting the limb to fit their motion. (He explains how he did it here.)
At TED2014, Adrianne danced for the first time since the attack, wearing the bionic limb that Hugh created for her.
Hugh says, “It was 3.5 seconds between the bomb blasts in the Boston terrorist attack. In 3.5 seconds, the criminals and cowards took Adrianne off the dance floor. In 200 days, we put her back. We will not be intimidated, brought down, diminished, conquered or stopped by acts of violence.”
Amen to that, Hugh.
I’ve pondered this shot since TSOT aired. I kept wondering why we were shown the hug from this angle. At first I thought it had to do with John’s private nature, especially his private feelings about Sherlock: so private he can’t admit them to his therapist after Sherlock’s “death,” so private he makes sure Mrs. Hudson’s not watching before he touches Sherlock’s headstone. Here, he hides his face behind Sherlock’s before hugging him, and we get a private glimpse of his face full of adoration for his friend, but the guests do not.
Then I realized I had it backward. This shot isn’t about John hiding his face from the guests. When I don’t know how to understand a choice of cinematography, I usually think “What would I have meant by that choice?” And I realized that my wedding photography experience could indeed answer this question. It took me a long time to come up with because I don’t usually go behind the altar during the wedding ceremony, but I have done it enough to know that this is the kiss shot. This is the shot I do when the couple kiss. It’s one of the most important photographs to get of the wedding day; couples always, always request it. The usual way to do it is from the perspective of the guests, from the angle that most of Sherlock’s speech is filmed in TSOT, but this is a foreground-background connection: this is the shot I do when I want to show that the couple are celebrating their love in front of everyone they know.
That’s what this shot is. It’s John showing how much he cares about Sherlock, in front of God and congregation, in front of and family and friends. Just because his face is hidden doesn’t mean he’s not demonstrating his feelings for all to see, here, for the very first time.