In the world of air travel, flight attendants do much more than serve drinks and snacks—they are highly trained safety professionals, responsible for the well-being of all passengers. Among the many safety protocols they follow, one unusual practice often catches the eye: flight attendants sitting on their hands during takeoff and landing. While it may look odd to the average traveler, there is an important reason behind this procedure.
Image Credit: @_hennylim_ TikTok
Let’s explore the purpose of this practice and how it plays a critical role in ensuring safety during flights.
The Bracing Position Explained by a Flight Attendant
If you’ve ever noticed flight attendants buckling up in their jump seats and adopting a particular posture—sitting on their hands as the plane takes off or prepares to land—you might wonder what they’re doing. In a viral TikTok video, Cebu Pacific flight attendant Henny Lim sheds light on this often-overlooked protocol.
According to Lim, the posture flight attendants take, known as the bracing position, involves several key actions:
Fastening seatbelts securely
Sitting upright
Placing hands on their thighs with thumbs tucked in
Keeping arms relaxed
Ensuring their feet are flat on the floor
While this position may seem strange to passengers, it’s designed to serve a crucial purpose, especially in the event of an emergency.
Purpose of the Bracing Position
The main goal of the bracing position is to minimize movement and reduce the risk of injury if a crash or emergency landing occurs. During an impact, bodies can be thrown forward with significant force, leading to dangerous, uncontrolled movements, or flailing, which increases the risk of injury. By sitting on their hands and securing themselves, flight attendants limit their body’s motion and protect their limbs from potential harm.
Additionally, flight attendants use this time to mentally prepare for emergency scenarios. As Lim explains, this involves conducting a “silent review” where they mentally go over safety procedures, emergency exits, equipment, and commands. This mental preparation ensures they can act swiftly and effectively in the event of an emergency, prioritizing passenger safety at all times.
Child star Mara Wilson, 37, left Hollywood after ‘Matilda’ as she was ‘not cute anymore’
In the early 1990s, the world fell in love with the adorable Mara Wilson, the child actor known for playing the precocious little girl in family classics like Mrs. Doubtfire and Miracle on 34th Street.
The young star, who turned 37 on July 24, seemed poised for success but as she grew older, she stopped being “cute” and disappeared from the big screen.
“Hollywood was burned out on me,” she says, adding that “if you’re not cute anymore, if you’re not beautiful, then you are worthless.
In 1993, five-year-old Mara Wilson stole the hearts of millions of fans when she starred as Robin Williams’ youngest child in Mrs. Doubtfire.
The California-born star had previously appeared in commercials when she received the invitation to star in one of the biggest-grossing comedies in Hollywood history.
“My parents were proud, but they kept me grounded. If I ever said something like, ‘I’m the greatest!’ my mother would remind me, ‘You’re just an actor. You’re just a kid,’” Wilson, now 37, said.
After her big screen debut, she won the role of Susan Walker – the same role played by Natalie Wood in 1947 – in 1994’s Miracle on 34th Street.
In an essay for the Guardian, Wilson writes of her audition, “I read my lines for the production team and told them I didn’t believe in Santa Claus.” Referencing the Oscar-winning actor who played her mom in Mrs. Doubtfire, she continues, “but I did believe in the tooth fairy and had named mine after Sally Field.”
‘Most unhappy’
Next, Wilson played the magical girl in 1996’s Matilda, starring alongside Danny DeVito and his real-life wife Rhea Perlman.
It was also the same year her mother, Suzie, lost her battle with breast cancer.
“I didn’t really know who I was…There was who I was before that, and who I was after that. She was like this omnipresent thing in my life,” Wilson says of the deep grief she experienced after losing her mother. She adds, “I found it kind of overwhelming. Most of the time, I just wanted to be a normal kid, especially after my mother died.”
The young girl was exhausted and when she was “very famous,” she says she “was the most unhappy.”
When she was 11, she begrudgingly played her last major role in the 2000 fantasy adventure film Thomas and the Magic Railroad. “The characters were too young. At 11, I had a visceral reaction to [the] script…Ugh, I thought. How cute,” she tells the Guardian.
‘Burned out’
But her exit from Hollywood wasn’t only her decision.
As a young teenager, the roles weren’t coming in for Wilson, who was going through puberty and outgrowing the “cute.”
She was “just another weird, nerdy, loud girl with bad teeth and bad hair, whose bra strap was always showing.”
“At 13, no one had called me cute or mentioned the way I looked in years, at least not in a positive way,” she says.
Wilson was forced to deal with the pressures of fame and the challenges of transitioning to adulthood in the public eye. Her changing image had a profound effect on her.
“I had this Hollywood idea that if you’re not cute anymore, if you’re not beautiful, then you are worthless. Because I directly tied that to the demise of my career. Even though I was sort of burned out on it, and Hollywood was burned out on me, it still doesn’t feel good to be rejected.”
Mara as the writer
Wilson, now a writer, authored her first book “Where Am I Now? True Stories of Girlhood and Accidental Fame,” in 2016.
The book discusses “everything from what she learned about sex on the set of Melrose Place, to discovering in adolescence that she was no longer ‘cute’ enough for Hollywood, these essays chart her journey from accidental fame to relative (but happy) obscurity.”
She also wrote “Good Girls Don’t” a memoir that examines her life as a child actor living up to expectations.
“Being cute just made me miserable,” she writes in her essay for the Guardian. “I had always thought it would be me giving up acting, not the other way around.”
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