#lct

Instead of being able to, very briefly and painfully, fuck with time; he got an ability based on all the absolute bullshit that's happened to him.

From the childhood, to his friends dying in front of him. All the shitty rumors that sprouted up, all the shit luck, all of it. Just, all of it.

So instead of Instant, he got Lament.

Lament is a scream capable of leveling buildings, at the cost of absolutely shredding Rok Soo's throat.

As a result of that power, Rok Soo doesn't talk often, and when he does his voice is hoarse and pained. He also refuses to speak at full volume, because while he's got a handle on his power, he's paranoid that he'll slip up.

So when he transfers over to the body of Cale, people notice.

The Young Master went to bed his usual talkative self, but when he woke up?

Barely a word, and when he did speak, a whisper.

Cale barely speaks a word to Ron beyond the single syllable required. Barely bothers to acknowledge Deruth. Relies on hand-speak and notes to talk to merchants.

Deruth is going crazy trying to figure out what the hell happened to his son, Ron is very close behind him because what the hell got past him? He's Ron Fucking Molan.

Then Cale comes home with a bedraggled punk that smells like the trash the killed Ron's family, and Ron has to listen in astonishment as he says more to this jackass than he's said to Ron in a week.

“Your sword can be a sermon or the power of the pen.”

Ragtime Second Broadway Revival February 2026 (Matinee) - $18

Cast: Joshua Henry (Coalhouse Walker Jr.), Caissie Levy (Mother), Brandon Uranowitz (Tateh), Kayla Pecchioni (u/s Sarah), Colin Donnell (Father), Ben Levi Ross (Mother's Younger Brother), Julie Benko (t/r Emma Goldman), Nick Barrington (The Little Boy), Anna Grace Barlow (Evelyn Nesbit), Ellie May Sennett (The Little Girl), Paul Slade Smith (Grandfather/Ensemble), Rodd Cyrus (Harry Houdini), Jacob Keith Watson (Willie Conklin/Ensemble), John Clay III (Booker T. Washington), Jason Forbach (Henry Ford/Ensemble), Ellie Fishman (Kathleen/Ensemble), John Rapson (J.P. Morgan/Ensemble), Alijah Joseph (Coalhouse Walker III), Allison Blackwell (Sarah's Friend/Ensemble), Briana Carlson-Goodman (Ensemble), Jordan Chin (Ensemble), Billy Cohen (Ensemble), Rheaume Crenshaw (Ensemble), Ta'Nika Gibson (Ensemble), David Jennings (Ensemble), Marina Kondo (Ensemble), Kent Overshown (Ensemble), Allysa Shorte (s/w Ensemble), Alan Wiggins (Ensemble)

Notes: MP4 format. Filmed in 4K from the rear center orchestra. Mix of wide shots and zooms. Minimal obstruction overall with a handful of brief dropouts (most under 10 seconds, the longest is about 30). For some reason, the beginning of “Sarah Brown Eyes” felt like having those moments the most. NFS forever except through master and NFT through March 24, 2031.

Moodboard: Étoile (team nyc)

oh, it’s not america, it’s new york.

From the Sea

During World War II, as the Allies launched their offensive, the demand for large landing craft became critical. Consequently, construction of Destroyer Escorts (DEs) at Mare Island was halted to prioritize the production of Landing Craft Tanks (LCTs). At the peak of this program, Mare Island was able to produce one LCT per day.

At the war's onset, US merchant ships were suffering heavy losses from German U-boats in the Atlantic. To address this urgent situation, there was a pressing need for DEs. Mare Island responded by increasing its capacity to receive prefabricated hull sections from across the country, assembling them on five newly built ways. To meet the required production rate, Mare Island adapted techniques learned from its World War I experience, where a destroyer broke all records when it was launched just 17 days after the keel was laid. Master Shipfitter T. J. Moroney pioneered the use of prefabrication in the shipyard, allowing for the final assembly of these sections on the building ways. This concept was further refined during World War II, leading to a nationwide assembly line approach. Ultimately, Mare Island constructed 32 DEs before the U-boat threat was neutralized and new priorities emerged.

After the war's early challenges, the US began its offensive.  Planners soon realized that achieving victory required deploying troops to numerous locations worldwide. This necessitated landings that transported hundreds of thousands of soldiers and supplies from ships into enemy-held areas. By the second year of the war, Mare Island shifted its focus from DE construction to building the landing craft essential for these operations. According to the War Report of Fleet Admiral Ernest J. King, a total of 83,219 large and small landing craft were needed to transport troops from the sea to enemy beaches. Mare Island applied the successful assembly line techniques used for DEs to the production of LCTs, resulting in so many LCTs that if lined up end-to-end, they would stretch for six miles.

The LCTs not only served as connectors between ships and shore but also provided crucial fire support when landing troops were most vulnerable to enemy artillery, mortars, and machine guns. LCTs carrying Sherman M4 tanks offered this fire support, with some even equipped to launch rocket barrages against enemy positions.

Additionally, newly developed tracked landing vehicles (LVTs) significantly reduced casualties by enabling troops to move from water across beaches to land. However, enhancing their survivability became a priority, as the original LVTs were unarmed and unarmored. Mare Island developed armor packages to better protect these vehicles. Despite Mare Island's significant contributions to producing DEs and landing craft, these efforts represented only a small part of the overall wartime production. The shipyard also built floating workshops, submarines, large submarine tenders, and various support vessels, while continuously conducting maintenance and battle damage repairs on a steady stream of US and Allied warships. Mare Island's experiences during World War II exemplified the adage, "The only constant is change."