#also is susan twist her actual name. that's iconic. | Explore Tumblr Posts and Blogs

simpsonpridgen9 · 2 years

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Replica Chloe Handbags

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wellthatwasaletdown · 3 years

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“It’s a fake article apparently.” The quotes from the parody account are fake, but there is real article about Harry Lambert in The Times.

https://www.thetimes.co.uk/article/meet-harry-lambert-the-a-lists-secret-style-weapon-8ml3q06jl

Meet Harry Lambert, The A List’s Secret Style Weapon

Whether it’s Harry Styles’s internet‑breaking cardigan or Emma Corrin in head‑to‑toe Miu Miu, he’s the stylist responsible for the hottest celeb looks of the moment. So how did a former River Island shopboy become the man influencing the way we dress today?

In February 2020 Harry Lambert was helping Harry Styles get ready to perform on NBC’s Today show. Lambert, an affable, bright-eyed 34-year-old, had been Styles’s stylist for a good five years by then, helping the One Directioner develop a distinct visual brand — and yet Styles still wasn’t quite sure why Lambert was so insistent that he wear a bright, multicoloured patchwork cardigan by JW Anderson.“I remember him saying, ‘OK, I love it, I just don’t know why we’re wearing it for rehearsals,’” Lambert relays from his east London studio. But the stylist had “a weird feeling”, he says with a little smile. “I was like, ‘Wear it for rehearsal — I promise you.’”The choice of the garment, and the knowledge of when and where to wear it, sums up Lambert’s gifts neatly. Pictures of Styles promptly went viral, so much so that the cardigan became a TikTok craze, with fans trying to replicate the knit at home. By the end of the year the V&A had announced it was buying the original, since it said so much about fashion in 2020. “It makes me a bit giddy, I guess,” says Lambert, to think that this moment he concocted will sit in a national collection for ever.

Right now Lambert can lay claim to being one of the most influential stylists in the world. The Styles collaboration is of course his calling card: a parade of eye-raising and/or mouthwatering outfits that have progressed from a much-memed floral suit at the American Music awards in 2015 to a couple of feather boas at this year’s Grammys and a Gucci women’s handbag at the Brit awards last month. His few other celebrity clients (it’s an elite bunch) include Emma Corrin, who, in the absence of any awards ceremony red carpets to be seen on following her star turn as Princess Diana in The Crown last November, took to Instagram to showcase a series of exciting, adventurous looks; and also her Crown co-star Josh O’Connor. It’s no surprise that, along the way, Lambert has become a name in his own right: his Instagram account boasts more than half a million followers. And to think — the Topman in his hometown of Norwich turned him down for a job as a teenager because “I wasn’t cool enough”, he giggles. He got one instead at River Island, where he was occasionally allowed to style the mannequins in cardigans of a somewhat less avant-garde calibre.Lambert, dressed in shorts, T-shirt and a plaid shirt, is sitting in his whitewashed studio surrounded by clothes racks for each client and mementoes from friends. He was an up-and-coming stylist, with lots of edgy editorial work and a long stint working for Topman’s head office on his CV (the brand did eventually hire him), when industry insiders introduced him to Styles in 2014. The 1D megastar was setting out his solo stall (1D would officially split in 2015) and Lambert brought racks filled with pieces by JW Anderson, Saint Laurent and future long-term collaborator Gucci on the hangers. He got the job the next day.“Harry has always been interested in fashion essentially,” Lambert says. “You could kind of tell already from the way he was dressing and the decisions that he was making with brands. So there’s never been, like, a battle. Everything with Harry is super-collaborative and it’s always been, it sounds cheesy to say, heavenly, but … !”

The two are clearly mates — they call each other Susan and Sue (Lambert is Susan), and a poster from Styles, signed “To Lamby” (his other nickname), has pride of place on Lambert’s desk. From the way he tells it, neither has blinked when it comes to the sexy, campy, gender-twisting work that has made Styles stand out from his peers. Indeed, other boy band veterans — Robbie Williams or Justin Timberlake — never tried anything this visually brave. But Lambert is clear that this isn’t just him dressing a marionette: “I think it’s part of his, you know, part of his character — it’s part of him. I never want it to feel like he’s wearing a costume, I never want to feel like something is wearing him. We’re not doing it for lols — it should feel like part of the performance or part of the whole, you know?”Lambert admits to finding online critique culture overwhelming, but he points out, slightly apologetically, that most them, for him, have been good (no doubt partly thanks to the millions of Styles superfans). “I’m lucky that I have a lot of positive feedback. But when I see something that is negative, you remember that so much more than the positive things. I used to be like, ‘Social media doesn’t bother me,’ but it does kind of f*** with your head.” Still, he’s all for it: “What’s worse — being so boring that nobody talks about you?” As for Corrin, they actually met at a Styles gig and the two became friends before she asked him to work with her for the media blitz for The Crown. “There’s something about her energy that’s just so infectious,” he raves today. Many have loved her appearances in fashion-forward London brands such as Knwls (a stringy black sheer party number, showcased in a lift), or more eccentric insiders like new-era Schiaparelli and Miu Miu. For Lambert, who loves to champion up-and-coming British brands such as Maximilian, SS Daley or his good friend Harris Reed, it was a no-brainer. “There’s a tendency sometimes for young actresses or young talent to make them look older or more ‘mature’. People are trying to hurry them along.” Corrin may be a leading lady already, “but she’s young too, and cool”, he reasons. “We didn’t want it to feel stuffy.”

Being a stylist is a star turn in itself now. In the glory days of the Noughties Rachel Zoe styled the likes of Nicole Richie and Lindsay Lohan in a very Zoe way (big sunglasses, bigger bags, gladiator sandals and anything boho). She has been followed by the likes of Karla Welch, who has put clients such as Tracee Ellis Ross and Elisabeth Moss in considered yet still fashion-forward choices, and the other current hot favourite Law Roach, who earned the respect of the entire world for decking out Céline Dion in Vetements. Lambert’s contribution is to blur not only genders, a bit, but also the distinction between “editorial” (traditionally edgy, fashy) and “red carpet” (which is to say glossy, a bit staid).Lambert finds most red-carpet dressing fearsomely dull, to be clear: “I really cannot see another black tie! Just no. No, thank you.” The last “iconic” red-carpet moment was, he thinks, Rihanna’s omelette dress at the Met Ball, and that was 2015. In fact what has really got him buzzing is RiRi’s latest series of outfits papped as “she comes out of restaurants, goes up escalators … it looks so good”, he says. “It’s better than most of what’s on the red carpet!” Back in Norwich, Lambert had no clue what a stylist was when he was growing up. The child of a policeman dad and a nurse mum, he had an extensive interest in clothes but no knowledge of fashion per se. It was only when he went to study photography at the University for the Creative Arts Rochester, in Kent, that he was alerted to it. He interned at fashion magazines during his summer holidays, then started working for a senior menswear stylist, and then the position at Topman came up. He speaks fondly of home — he says his dad is quite a “flamboyant” dresser, actually — but admits it took everyone a minute to suss out what he does. “Even up until five years ago my parents would tell people, ‘He’s a stylist,’ and they’d say, ‘Oh, he does hair?’

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chronicas · 4 years

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A lot of people followed me for Salem and he is one of my favorites in the Main 14 so I’m gonna infodump about him a little bit.

Here’s my first real drawing of him! I came up with Salem while listening to Touch Tone Telephone, because the shit slaps and I wanted to run a Monster of the Week campaign. For the campaign I needed a character that would aid the players in solving the mysteries and bringing all their characters together. The first two characters I made for the campaign were Salem and Danial Cedarwood (who was inspired by Stan Pines and Ned Chicane) Originally, Salem was a Terran radio host and monster hunter. He was supposed to have a contract with the Greater Forest Spirit, Astacagoth (Mothman) that would lend him some of the spirit’s strength. So in the beginning he was just a regular human man who had a contract with a forest spirit. There was also another unnamed NPC who had the same setup as Salem but with Bigfoot, he was scrapped in the end but was still neat.

At the time I had just started listening to TAZ Amnesty and hadn’t met Indrid yet, when I did meet Indrid and Griffin discribed him having the iconic red tinted sunglasses I thought “hm maybe it would be more fun if Salem was literally just Mothman” It was something I had already considered but I wanted to make sure Salem wasn’t like Indrid. I turned away from Salem’s original more mysterious personality and decided to make him incredibly cocky with a very good heart. He became the guy who always put himself between his friends and danger and also was just an absolute himbo.

Salem’s backstory was about Astacagoth, a tired spirit who couldn’t be killed, being hunted by monster hunters who saw him as a threat. After being slain many times, he desired to move on instead of being resurrected over and over again. Helaphiel was an angel and a friend of Astacagoth’s, he asked her to help him move on. Since spirits exist as something between the realm of the living and the dead, they can’t really die. So to allow him to die, the energy in his soul, his essence basically, needed to be repurposed. One night, 13 year old Salem Graves was exploring the woods during one of Astacagoth and Helaphiel’s meetings. Helaphiel agreed to take a portion of Astacagoth’s soul and give it to Salem. So Astacagoth became a mortal soul and moved on while Salem was basically upgraded from mortal to Greater Forest Spirit. Becoming Mothman.

When I started to flesh out his backstory I remembered one of my abandoned characters, Rian. Rian has been at least 3 different characters. Her name, appearance, and personality stay the same every time, but her story changes. I decided to finalize her as Salem’s younger sister. With this new family dynamic I created the two’s backstory. The two were orphaned when Salem was 10 and Rian was only 3. Rian and Salem were half siblings, sharing the same father, they were both raised by Salem’s mother and their father, Rian never knowing her biological mother. Originally, the two shared a mother because Rian’s father was Satan. However I thought it might be fun to put a twist on antichrist by making her the opposite of Christ. You have the Son of God, God being the Father, and the Daughter of Satan, Satan being the Mother.

With Rian as the antichrist I was able to more properly tie in Helaphiel to the story. Rian is one of many antichrists, one of Helaphiel’s sacred duties was to keep an eye on these children and keep them isolated from the devil, postponing the apocalypse. Angels and Forest Spirits tend to get along, so originally the only reason Helaphiel had anything to do with the Graves Siblings was that they happened to live in Astacagoth’s territory, but with Rian in the mix it became a bit flipped. Helaphiel was there for Rian and she would happen to run into Astacagoth from time to time. After Salem became the new Mothman, Helaphiel decided to adopt them because she felt guilty for what she did to Salem. Her original thought was that by making Salem a powerful spirit, he could protect his sister from the demons that would inevitably come to influence her, totally did not consider that she would be turning a 13 yo child into a big scary monster.

Helaphiel is also a member of the High Magic Council of Genesis, at this point in the timeline, Agael Stellarune is the Emissary of the Goddesses of Magic and head of the Council. My girl Lumaria has not been born yet. Salem has no connection to the Council yet.

Fast forward 5 years after Salem’s incident, Salem is 18, Rian is 11. At this point Salem has just graduated High School and Helaphiel leaves Salem alone to take care of Rian so she can return to her job at the Council full time. Salem starts working for the local paper after his online blog starts to grow in popularity. He basically writes stories about the strange happenings in his hometown, of which there are many. He uses this as a way to get information from people so he can better do his job as a Forest Spirit. (Which is to protect his territory and everyone who lives on it)

At this point the war with the Izebellian Empire has begun, Izebel herself is only 8, but by the time she was 5 she was a worthy vessel of Circe’s curse. Ageal forms the New Genesis Alliance as a response.

Three years later, Ageal is murdered by the knight September. Despite the Council assuring her that she doesn’t need to take the position because she’s literally only 10, Lumaria Stellarune takes her mother’s place as Emissary due to her already strong connection to Ashtia and Arcadia.

Under Lumaria’s lead (with Helaphiel, Xoul, and Madam Veronica acting as her closest advisors) Salem begins working closely with the Council as a Terran operative. In this same time, the Vandals move to West Virginia to help with the increase of spiritual activity near Point Pleasant. One night, Qwynn and Anastasiya Vandal encounter Salem and lesser forest spirit, Vistrag, while Salem is in his true form. Qwynn, eager to prove herself as an amateur monster hunter to her parents, makes a familiar contract with Vistrag.

Which is super helpful to Salem when the Vandals move to Valewood, Colorado. /s

After having to move out of his designated territory (something a greater forest spirit hasn’t ever really done before) along with 50+ lesser forest spirits just so one (1) idiot teenager can keep her familiar, Salem moves into the adjacent town, Aderdeen, and starts working at the radio station. There he continues his same gig that he had as a journalist except now he’s a radio show host. Him and a group of college students (of which includes local cryptid enthusiast, Susan Monroe) create a show called The Valewood Night Watch. The actual Valewood Nightwatch consists of Salem, Rian, and local (normal) hunter and bastard Danial Cedarwood who finds out Salem’s secret while hunting one night and decides to help protect his town.

Then my MotW campaign starts. The campaign kicks off with the death of Jack Harper, who was out hiking at night with his best friend Jessica North. The next day Jessica calls the Valewood Night Watch and reports that the thing that killed her friend was some kind of large creature with black leathery wings and tall deer antlers. This will be the hook that will bring together a group of unlikely heroes that will eventually start a forest fire, fail to save the local weatherman from Zombie Jack Harper, get a local sheriff abducted by the Men in Black, and other dumb shit that I love them for.

I don’t know how the campaign will end, but nothing will happen that will drastically change the canon timeline. Everything else is spoilers for the start of Unorthodox ;)

#infodump #mothman #array of cicadas #salem graves #rian graves #qwynn vandal #(she’s mentioned anyways)#shut up kellington #my ocs

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gatorjbone · 4 years

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GASPARILLA DISTANCE CLASSIC – February 22 & 23, 2020

Just when you think your favorite race weekend could not get any better, the bar is raised to a point that would be hard to beat. I’m getting a little ahead of myself, so let me start from the beginning.

One of the classes I teach at FIU is Multimedia Production I (RTV 3531). An assignment the students have to do is to record and edit a chroma key segment, also known as a green screen. I always provide them an example to follow, so I recorded and edited one myself. My segment was called “I Am a Runner” (catchy title, just like this blog). I talked about my favorite race weekend, so no script was necessary. In fact, I actually “nailed” it on the first take. Once it was edited and posted on YouTube, I sent the link to the race director Susan; I thought she would get a kick out of it. Boy…was that an understatement. Susan called me and said the video was AMAZING. “And when I say amazing, I mean amazing in all caps.” Not only that…she also asked if she could post the video on the landing page of the race website. I was thrilled and honored, and told her I would help with any videos she may need in the future. I sent her the link to this blog, in which she replied: “You continue to amaze me with your lovely words about Gasparilla.”

youtube

While Running the Mayberry Half Marathon, I convinced Elaine to enter Gasparilla; it would be her first time. Lindsey was on the fence for the weekend, mostly because Miami was moved up one week this year. After twisting her arm for several months (and taking care of her race entry and airfare), she succumbed to my pressure. Elaine also helped in turning up the heat. Mary and Doug were all in as well, and we then got word of a special guest appearance by Pam. THE BAND WAS BACK TOGETHER AGAIN! This would certainly be a weekend to remember.

Everyone would be arriving around the same time on Friday except Elaine. Her flight was coming in at 10pm (she could not find a direct flight any earlier 😩). The host hotel this year was the Embassy Suites Downtown Tampa, which is connected to the convention center where the race expo is held. This is the first time since I’ve be doing this race weekend that I would be staying here; boy…it did not disappoint! Lindsey, Mary, Pam and I grabbed lunch, as Doug was still in route. He met us at the restaurant, and we made our way to the expo. I called Susan in the hopes of meeting her in person, but obviously she was super-busy (I would continue to pester her throughout the weekend; I’m really sorry for being such a noodge Susan). I really liked the race shirts this year. They were very colorful and a departure from previous years. The challenge jackets were colorful as well, but I miss the windbreaker style from four years ago. Asics was now providing the official merchandise for the races, replacing Under Armour. They were selling really snazzy looking compression sleeves, but ran out in the first few hours. I hope they eventually replenish their supply. This is a great expo, with lots of good vendors, and plenty of room to walk around (Miami Marathon…please take note).

The weather for this weekend was pretty cold, which was great for me, but a bummer for Lindsey. As we made our way down for supper, the temperature was around 51˚, and extremely windy. On top of that, our dining experience was extremely unpleasant (I won’t mention the name of the establishment, as that’s not really the purpose of this blog. I’ll say it was a sports bar, and leave it at that). Besides waiting 30 minutes to be seated, we also waited one full hour until our food was served. Our server acted nonchalant (as if it were her first day on the job), and the manager didn’t really seem to care. He gave us 50% off the bill, but we felt as if he should have not made us pay anything at all. On a positive note, the food was very good.

Hereis the breakdown for all four races:

5K 12,022

8K 4,723

15K 5,480

Half 5,050

A total of 27,275

As we met in the lobby at 6:30am on Saturday morning, there were two “medical updates.” First, Mary had deferred her race entries, and would not be running this year. Second, Lindsey had been having knee pain, due in part to a tight ITband. Her status for the Michelob Ultra Pure Gold Challenge (15K on Saturday and Half Marathon on Sunday) would just have to unfold. It was 41˚ at the start of the race, with not very much wind at all. The running strategy was as follows: Pam would run with me, Elaine would run with Lindsey, and Doug would do intervals. The gun sounded at 6:45, and we were off. It was great to do a race with Pam again, as we always have the best conversations when we run. I had recently purchased a percussion hammer, and worked myself over for about 20 minutes before the race. Wow, did it make a difference! This race was effortless for me, and I only needed to stop twice to pee. This may be a PPR (personal piss record). The wind was at our back for the first part of the race, which was a good thing. As it became warmer towards the end, it was good to have that cool breeze in our faces. My time was pretty slow, but extremely enjoyable. As we met the others at the finish line, Lindsey told me her knee started to hurt after the first mile, and she had to walk the last two miles (sadly, she still finished ahead of me). I was saddened to hear that she would have to skip the half marathon on Sunday, but I’m sure she was bummed out more than any of us.

We made our way back to the hotel for breakfast…and what a breakfast it was! You name it; they had it (and it was included in the price). Jen drove up for the day to spend some time with us, and she got there just in time for a cup of coffee. Lindsey, Elaine, Doug and I moseyed our way to the after-party for a well-earned beer and live music. They had really good looking coffee mugs, but you needed to finish in the top ten-percent of your age group to get one (I guess I’m going to have to bug Susan one more time). Just in case you were wondering, I did see Meb once again in the elevator; this makes six years in a row. I told him my video was on the website, and I was trying be more Gasparilla famous than him. Lindsey told me back in the room that I am embarrassing. After a shower, we went back to the expo, since Elaine had not been able to go on Friday. Lindsey and I each bought a medical-grade massager (and by “each bought,” I mean I foot the bill for both of them). It looks like something you would buff your car with, but it really digs deep into your muscles. We did an early supper at Columbia Café (where else?), and were joined by Jen and Jay (Pam’s sister and brother-in-law). The food was excellent, and the service was even better. Back at the hotel, we were in time for happy hour (also included in our stay). I had a glass of wine for the road, and was in bed by 8:30.

The half marathon was starting at 6:00am, and I woke up around 4:15. I went to town on the percussion hammer, and met everyone in the lobby at 5:30. The weather at race time was 52˚, so no jacket was needed. I wore compression sleeves and a short sleeve shirt. Pam informed me that she would be running with Elaine today, so I would have to fly solo. It was probably a good thing, as I didn’t expect my bathroom good fortune from yesterday to hold up again. True to form, I had to stop and pee after one mile. Lindsey had told Elaine to look for the iconic saxophone player around the two-mile mark; as anticipated, he was there. They must have shuttled him ahead, as I saw him jamming out again four miles into the race. The sun was out in full force after five miles, and I was able to take off the compression sleeves. I was not sore at all, but I did stop at almost every port-o-potty. Truthfully, it was more because I was running “lone wolf,” as opposed to really having to go. I saw Elaine and Pam after their turnaround, so they ran with me for a few steps (what a magnanimous gesture on their part). My pace was actually quicker than the 15K, and the weather was outstanding. The course is beautiful, and I truly felt blessed to be there. I even stopped to take a photo with some of my closest Star Wars friends. We all met up at the finish line, and the medals were outstanding (as always).

Breakfast back at the hotel, a quick stop to Publix for Pub Subs for the road, and off to Tampa Airport to drop off Elaine and Lindsey. Elaine loved the weekend, and plans on entering again next year. I had asked Susan to consider me for race ambassador for next year; she told me I am already an ambassador.

How can you top greatness? The Gasparilla Distance Classic always seems to know how.

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#gatorjbone iamarunner jaysandhouse pgdc2020 rungasparilla2020 sandhouserunningclub

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kat-sucky · 7 years

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rapunzel au bro

[ Your request was a little vague, but I think I did it justice. It’s probably not what you were expecting… buuuuut.]

As a party princess, you met your fair share of creepy old men and geeky weirdoes. However, all of those incidents of being hit on by men too old for you seemed to pale in comparison to what was happening now.

Three hours earlier.

The summer heat had long melted off most of your thick foundation, and you were dying inside of your Rapunzel dress. The heavy, long wig you wore trapped heat under it, and you could feel the sweat rolling down your neck in beads. Your dress was made of thick fabric, and lucky you, didn’t show any sweat spots or smell, but you felt like you were drowning under the folds of the skirt and the confines of the bodice. The once cool metal of the tiara had become like a brand under the sun and you could feel it burning your scalp.

On the exterior, you still looked like a perfect princess, minus the foundation, and your lipstick was faded. The kids you were playing with didn’t seem to mind, and ran circles around you, hands linked and laughing. While you were physically suffering your way through this for the money, emotionally you were feeling great and the enthusiasm from the kids had rubbed off on you. During the two hours you had been attending this party for the kids, boys and girls (a man from your company dressed as Superman was there for the boys benefit, but he was being shunned. You were the main attraction, and even the little boisterous boys had become fans.), you had learned a lot about the kids you were entertaining.

There was a little kid named Rudy who loved learning about toilets, a girl named Susan who ate grass because she wanted to be a horse, and so many more. The birthday kid was a sweet little girl around four with a brain tumor and a few months to live named Sydney, and she was so down to Earth. You hadn’t known kids like her existed, and for her family’s benefit, worked on the house for this girl. They didn’t need to pay for this, it was your pleasure to help them.

The party itself had ended a few minutes ago, but you had grown a little attached and the game of tag had continued. The only kids left were the three, and then there was you.

You were quirkless, but that hadn’t stopped you from succeeding in a world of superheroes and aspiring villains. You only wanted to be a princess for now, and then you would move on to bigger things. Being quirkless made the game of tag a little more difficult for you though, seeing the kids were using theirs to evade your grasp.

Eventually though, even you had to go home. You had given your tiara to Sydney and gotten into your car, stifling a few tears. The parents were grateful for you spending time with the kids, and gave you a large tip. You had denied it at first, but saw it rude to deny their insistence twice and took it.

You hadn’t even started the car when a hard force hit your head, and you blacked out.

Currently.

Again, every other time you had dealt with minor stalkers and forward fathers could never compare to this.

You had been kidnapped by an old man around his seventies dressed like Flynn Rider, and he was currently professing his undying love for you. Your tiara had been replaced with what looked like a homemade cardboard, glue, and rhinestone crown. The thought was nice, you acknowledged that, but you really just wanted to go home. You weren’t even all that scared apart from being a little thrown off at the twist in your day.

Wait, correct that, two days. You had been here for a two days now, being held hostage in this old man’s house in the countryside. The only reason you weren’t shaking in your slippers at this moment was because you had dealt with this old geezer before, and he was convinced you were the real Rapunzel in the flesh. As long as you played your part, you should be fine.The really sad part was that you couldn’t escape because he always had your hands tied, and you had no idea where to go once outside the door. It was miles and miles of flat land. Plus, he’d probably kill you if you tried. From the looks of the room you had been in, you weren’t the first Rapunzel to be here.

You had been well taken care of, being able to bathe and all, being fed, but you had to wear your costume and crown at all times, and it was exhausting. Especially with the three times a day tea parties he made you attend. Lucky for you, he wasn’t very smart and actually left his phone out. So, like any smart person in this situation, you had grabbed it before becoming fully restrained into the dining chair again.

Text: from you. [3:34pm]

To: unknown number

My name is [Y/N] and I’ve been kidnapped. So if you could send help to come grab me, that’d be great. I don’t really know where I am.

Was that good enough? You weren’t really sure how this worked, and could only hope they took you seriously. So you also pressed the “send your location” icon for good measure.

Text received: from unknown number [3:38pm]

To: you

Is this a joke?

Text: from you. [3:39pm]

To: unknown number

No! Just send someone. At this rate, I’m going to end up in a dumpster somewhere.

Text: from unknown number [3:43pm]

To: you

Fine. If this is a joke, I’ll make you sorry.

Huh, that was quick. And not very… reassuring.

Discreetly, you smiled to yourself looked up as the old man knelt before you. His old hands cupped your delicately, like he was holding a fairy. He stared expectantly at you, like he had asked you something.

Oh no, had he asked you something?

“Ah… What was that?” You blinked, feigning a sweet smile. You could feel tension forming in your shoulders.

As you began to slide the phone under the folds of your dress, it happened to fall off the chair you were tied to and fell to the floor. Great.

His love-struck expression melted into one of confusion as he picked up his phone. “Rapunzel, why do you have….” His voice trailed off as he read the conversation between you and the grumpy stranger.

It was a switch from gentle wooer to extremely pissed off old man.

“You’re trying to leave me?” He growled, milky eyes shooting up to look at you. Now you were feeling fear for the first time in being here. “After all I’ve done for you?”

You swallowed as your throat went dry, stomach clenching. What exactly had he done for you? “No. Why would I want to leave?”

Either he didn’t hear you, or he didn’t care, because he threw the phone across the room with surprising strength for his age and swung back to face you, getting too close for your preference. “You bitch! You princesses are all the same!”

He kicked the chair, again very strong, and you figured he must have some sort of strength quirk. You and the chair hit the ground with a clatter, and your entire side exploded with pain. The binds cut into your skin, and you knew now was when the fight to live began. As he grew closer, your eyes searched for something to help you. When you saw a leg had broken off of the dining chair, you managed to rip one of your arms from the ropes and reached out towards it. So close. So close.

Too late.

It was nudged away with a foot. That same foot then connected to your stomach with the fury of a once younger man, and you cried out.

“I love you! How could you want to leave me?” You could hear the raw sobbing in the older man’s voice, and you would’ve felt bad for making an old person cry if it hadn’t been for the fact he was scaring you shitless. “I took you in off the streets,” More like my car, you mused, “I’ve fed you, spent time with you, given you a place to stay, your own room!” While in chains! Ugh. The nerve of this guy.

How long had it been since you called out for help? Ten minutes since? Someone should be here soon, right?

Again, you were kicked mercilessly. Then, hit over the face with the chair leg you had been trying to obtain previously. You felt a scratch in your cheek begin bleeding onto the floor. You could tell from the shadow on the tile floor that he was gearing up to hit you again, and it looked to be aimed for your head this time. You closed your eyes tightly, shoulders tensing up in anticipation of the blow.

The was a large explosion form not too far away, and wind swept across the room as a result of the powerful boom. Your wig was detached, revealing your true [H/C] locks. The old man cried out at the sight of your true form, clutching his head and pulling at his skin.

“You’re not Rapunzel!”

“No shit!” You snarled back, your voice quavering.

You strained your eyes to see what was happening, and inhaled sharply as you saw a young man send your captor flying across the room. Your heart pounded heavily in your chest as relief flooded you, because this man was your hero. Who ever you had texted had sent a hero to save you, albeit a ferocious looking one, but a hero all the same. You’d have to thank them la-

“This you?” A phone screen was held in front of your face, the brightness of the words inches away.

This hero was the stranger you had texted? You swallowed, looking upwards at his face. The hero in costume was squatting beside you. He was frowning, as if he was disappointed in you. Or like he was hardcore judging you… Maybe both. The intense scrutiny made you blink. “Yes. That’s me.”

He stood up again, looming over you, a small smirk beginning to play on his lips. “You look like shit.”

“Thanks.” You deadpanned without a thought. His smirk widened a fraction, and you could tell he was amused. Here you were, a girl dressed like a princess, bleeding from your cheek and almost getting killed by an old man.

“You’re welcome. You totally owe me now.” An arrogant edge took hold in his voice as he sauntered back towards the door, arms stretching behind his head.

As he began to leave, you remembered you were still tied up. “Hey! You gotta untie me!” You frowned at him.

He glanced back, the amusement less apparent. He actually looked a little pissed now. “I do? I came here to save your ass. I did that. I don’t have to do anything else, you shit.”

The two of you engaged in a small glaring contest, and as you huffed, he rolled his eyes. “Fine. I’ll untie you.”

He walked over, slow. So slow, and it was obvious he was showing you how much of a drag this was for him, and how much he didn’t want to be doing it. It was irritating. This guy was a hero? Unbelieveable. There was a softer explosion from behind you, and you felt the binds fall away from your skin. Pure bliss.

“You double owe me now. Plus dinner.”

#bakugou #katsuki #katsuki bakugou #party princess #bakugou x reader #katsuki x reader #bhna #boku no hero academia #bhna x reader #boku no hero academia x reader #rapunzel au

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sartle-blog · 7 years

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Sex Lives of Dead Presidents

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wesonerdy · 7 years

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Shondaland brings their dark and twisty signature to Romeo and Juliet! Get a sneak peek of tonight’s Still Star-Crossed premiere.

Courtesy of ABC/Bob D’Amico

I haven’t met a juicy period drama that I didn’t love, and now that Shondaland is entering the game, you know things are going to be good.

Most of us probably read William Shakespeare’s Romeo & Juliet in high school. I read it in ninth grade, followed by a screening of Franco Zeffirelli’s 1968 film (cringe-worthy because who wants to watch love scenes with their English teacher and classmates!). There have been several renditions of Shakespeare’s iconic tragedy, including Baz Luhrmann’s 1996 trippy modernization, starring Leo DiCaprio and Claire Danes. I think my favorite is the adaptation for Shakespeare in Love (1998). Watching Joseph Fiennes’ Will Shakespeare derive inspiration for his plays as a result of his relationship with Viola De Lesseps (Gwyneth Paltrow) is positively swoony. And those are love scenes that I can definitely get behind 😉

In any event, it might be difficult to think about how anyone could bring something fresh to this well-known and often-told tale. But as we’ve learned, you can always trust Shondaland to bring a brilliant twist!

Still Star-Crossed actually follows the lives of the Capulets and Montagues in the aftermath of Romeo and Juliet’s tragic death. We can recall Friar Laurence’s impassioned speech to the families as they arrive at the tomb where the two lovers have died. I think we all hope that, given this sacrifice and unfortunate waste, the Capulets and Montagues can come to some sort of truce. In Still Star-Crossed, we see that this is definitely NOT the case.

This time, we follow Juliet’s cousins, Rosaline Capulet (Lashana Lynch) and Livia Capulet (Ebonee Noel). Rosaline finds herself in the middle of a political play to try and save Verona. She will prove she’s a force to be reckoned with, especially when it comes to her destiny, and must make tough decisions regarding her loyalty to the Capulet name. On the other hand, Livia is a hopeless romantic who dreams of a marriage to provide her with a life she’s always wanted, but her yearning for love makes her an easy target, and she gets drawn into a sordid secret, without her knowledge.

Lord Capulet (Anthony Head), the patriarch of the Capulet dynasty, is willing to maintain the legacy of his family’s name at any cost. Lady Capulet (Zuleikha Robinson) may want the same as her husband, but a mystery surrounds her true ambitions.

We also get to know Romeo’s cousin Benvolio Montague (Wade Briggs). He’s now thrust into a position of responsibility because he’s the sole heir to the Montague name and must abide by a sinister plan to solidify his family’s prominence. The Montagues are on the precipice of matching the Capulets social status, but Romeo’s death threatens to stall their ascent. Angered by grief and the loss of his son, Lord Montague (Grant Bowler) will stop at nothing to ensure the Montagues are the most respected family in Verona.

A newly crowned Prince Escalus (Sterling Sulieman) is determined to end the bloodshed between the Montagues and Capulets, but his only solution forces him to decide between following his heart and protecting his kingdom. Eager to help her brother rule Verona, Princess Isabella (Medalion Rahimi) finds herself drawn to the throne, but quickly realizes that obtaining power as a woman will require succumbing to a twisted scheme.

In fact, the Capulets and Montagues aren’t the only ones affected by Romeo and Juliet’s tragic fate. The keeper of Verona’s darkest confessions, Friar Lawrence (Dan Hildebrand), feels a deep responsibility for their deaths. Similarly, the Capulet’s lifelong caretaker, Nurse (Susan Wooldridge) feels guilt. She holds many secrets of her own, including the fact that she is tending to Count Paris (Torrance Coombs), who was supposed to wed Juliet, but was left for dead after a brutal fight with Romeo.

Still Star-Crossed has all the things we love in period drama and historical fiction/romance: so much drama and intrigue, secret machinations and power moves, love lost, found, and lost again… but what’s also exciting is how the series brings in a non-traditional take on casting and prominently features actors of color. Yet, in a recent interview with The Hollywood Reporter, Heather Mitchell (Still Star-Crossed‘s Showrunner), is adamant that historical accuracy doesn’t always mean “white-washed”:

“The Renaissance was much more diverse than I think most of us, having just taken high school history or whatever, [remember],” she says. “Shakespeare in the 1500s is writing about an interracial marriage in Othello, and Alessandro deMedici is the ruler of Florence, and he’s a biracial man. And you’re talking about all these cultures along the Mediterranean who have been trading with the Arab world and the African world, and by the Renaissance, they’re starting to trade with Asia. This was not a white world, really. You may remember whatever artwork or whatever you want to, but I think, in reality, this is a more diverse world than people think — and on top of that, we just cast the best actor for every role.”

BRAVA… and I cannot wait for tonight’s premiere!

“In Fair Verona, Where We Lay Our Scene” (written by Heather Mitchell, directed by Michael Offer), literally sets the stage:

ABC’S PERIOD DRAMA EXPLORES WHAT HAPPENS AFTER ROMEO AND JULIET’S TRAGIC LOVE STORY ENDS AND IGNITES A TREACHEROUS FEUD BETWEEN THE MONTAGUES AND CAPULETS, WHICH UNFOLDS IN THEIR BELOVED CITY OF VERONA－In the wake of Romeo and Juliet’s tragic deaths, the Montague and Capulet rivalry escalates. A new royal takes the throne in Verona and struggles to determine what is best for his city, which is at the epicenter of mayhem. (via ABC)

Watch two clips from the upcoming show, which uses Romeo and Juliet’s love story as a springboard. In the first clip, we watch Friar Laurence marry Romeo and Juliet, and we already get an interesting twist with the presence of two witnesses. And in the second video, we see the ill-fated end of that romance, with the lovers’ funeral.

Think you know what happened at Romeo and Juliet's wedding? Think again. A new story unfolds on #StillStarCrossed, Monday at 10|9c on ABC. pic.twitter.com/WkaxllZYC7

— Still Star-Crossed (@StarCrossedABC) May 26, 2017

Peace between the Montagues and Capulets? Looks like the royals have their work cut out for them. #StillStarCrossed begins Monday at 10|9c. pic.twitter.com/7QwWQSuIRt

— Still Star-Crossed (@StarCrossedABC) May 27, 2017

I already adore Lashana Lynch’s Rosaline. A servant? You better leave your prejudices at the door Benvolio! And as anticipated, the potential for peace between the Capulets and Montagues is sabotaged before Romeo and Juliet are even in their graves. I wonder what idea the FINE Prince Escalus will come up with now?

Check out 40 images from Still Star-Crossed, including stills from tonight’s premiere and character images. I’ll be live tweeting (@WeSoNerdy) so join me at 10:00pm ET to watch!

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PREVIEW: ‘Still Star-Crossed’ Series Premiere “In Fair Verona, Where We Lay Our Scene” Shondaland brings their dark and twisty signature to Romeo and Juliet! Get a sneak peek of tonight's…

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mrmichaelchadler · 6 years

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Thumbnails 8/28/18

Thumbnails is a roundup of brief excerpts to introduce you to articles from other websites that we found interesting and exciting. We provide links to the original sources for you to read in their entirety.—Chaz Ebert

"Miranda Harcourt on 'The Changeover' and Whānau Values in New Zealand": At Indie Outlook, I interview the acclaimed actress and acting coach about her terrific new feature that she directed with her husband, Stuart McKenzie. We also discuss her ingenious coaching techniques, clients such as Melanie Lynskey and Nicole Kidman, and her daughter, "Leave No Trace" star Thomasin Harcourt McKenzie.

“I was coaching a few actors via Skype for the role that Thomasin ended up playing in ‘Consent,’ and she was reading a book while listening to our session. After I hung up, Thomasin said in her little voice, ‘I’d like to audition for that role,’ and I went, ‘What? But you hate acting.’ She replied, ‘No, it sounds like a really great story to tell,’ so we did a little read-through of the script right here, exactly where I am sitting right now. I was like, ‘Oh my god, you are amazing.’ It was a great performance, and when she went in for the audition, she got the role. The film was directed by Robert Sarkies, who also made another great New Zealand movie, ‘Out of the Blue.’ Even now, I don’t think Thomasin has seen all of ‘Consent,’ because she wasn’t even allowed to see the bits that she was in. She’s only in the first 17 minutes, but it’s a very intense journey. It took a lot of courage for her to portray a girl who is raped. Francis Biggs, one of my students I taught at Toi Whakaari: New Zealand Drama School, portrayed the rapist with whom Thomasin had to play that scene in ‘Consent.’ We’re both really grateful to Francis because he and Thomasin did ‘hug to connect’ before they played that scene. It enabled Francis and Thomasin to play quite an intense rape scene together so that they are in the flow of telling that story together. They weren’t in opposition, which would’ve been very psychologically damaging, not only to Thomasin, who was 13 at the time, but also to poor old Francis, because it was not a happy job for him. I’ve got a collection of great photographs chronicling the interactions that Thomasin and Francis had in order to build that relationship over a couple of weeks while preparing for the scene. Over the couple of weeks after they did that scene, Thomasin would consistently check in with him and say, ‘Hey Francis! I’m really proud of the work we did together, and I hope you feel good about it too. Just remember—it’s only acting!’”

"Call it a Comeback: The Inside Story of Elvis Presley's Iconic 1968 Special": As remembered by our contributor Donald Liebenson at Vanity Fair.

“Elvis looms large in the singer’s legend. The live-wire special is featured prominently in two 2018 documentaries, Eugene Jarecki’s ‘The King’ (now in theaters) and Thom Zimny’s ‘The Searcher’ (on HBO). It capped a decade in which Elvis could mostly be seen only in the movies, and, increasingly, not very good movies at that. Taped in June and broadcast on December 3, 1968, it was his first television appearance since 1960, when he guest-starred on ‘Frank Sinatra’s Welcome Home Party for Elvis.’ At the time, he hadn’t performed in front of a live audience in seven years. But Presley and Binder’s creative team delivered. [Steve] Binder, a self-professed ‘West Coast guy into surf music,’ finished the special feeling in awe of Presley. ‘For me, the ‘68 special is seeing a man re-discover himself,’ Binder said. ‘I saw it on his face and in his body language as we progressed.’ Susan Doll, author of Elvis for Dummies, agreed. ‘I think it’s the peak of his career,’ she said. Col. Tom Parker, Presley’s infamously controlling manager, had promised NBC a one-hour special if the network financed Presley’s next film—‘Change of Habit,’ Presley’s screen swan song, released in 1969. He never told Presley about the deal, with good reason: ‘Elvis didn’t want to do television,’ Binder said. ‘He felt he had been burned by it.’ Even Steve Allen, the talk-show host hip enough to give Lenny Bruce a shot on prime time, forced cheese on Presley, putting him in a tuxedo to sing ‘Hound Dog’ to an actual hound dog.”

"'It Was No Gang, It Was One Guy, And He Wasn't Really a Killer': Producer and Star Edward James Olmos on 'The Ballad of Gregorio Cortez": In conversation with Jim Hemphill of Filmmaker Magazine.

“When Bob [Young] agreed to do the picture and rewrite the screenplay from scratch, he and I went to the real locations where it all happened. We went to Gonzales, Texas, where they captured and imprisoned Gregorio Cortez, and we found the exact prison. We found his cell. The jail and the courthouse were exactly how they were in 1901, it gave us an authenticity unlike anything I had ever experienced before in film. We had to talk the district court judge in Gonzales into letting us use the courthouse, and when he asked us what kind of movie we were doing, Bob kept speaking in general terms of how important our subject was to Mexican-American people and to the Latino culture, but he wouldn’t say the name because at that time no one knew who Gregorio Cortez was. The judge kept asking, ‘What’s his name?’ and finally Bob says, ‘His name is Gregorio Cortez, but he’s a really important—‘ and this guy says, ‘Stop, stop. I’ve been waiting for you guys for 35 years.’ He opens his filing cabinets, and in these cabinets is every single piece of testimony and every single newspaper article from around the country related to the trial. This judge was the foremost authority on the case in the world, bar none. He felt it was one of the most important cases in U.S. history because it was the first time a Latino had been tried in an American court of law, and with an interpreter, which was unheard of in 1901. This guy had filing cabinets filled with material, because the case was followed all over the country – it involved something like 600 Texas Rangers in hot pursuit of what they thought was a Mexican gang of killers. And it was no gang, it was one guy, and he wasn’t really a killer – it was self-defense. Anyway, discovering all that material was just unbelievable. It was magical. And it allowed us to make what the United States Historical Society claimed to be the most authentic Western ever made in American film, ever.”

"John McCain, War Hero, Senator, Presidential Contender, Dies at 81": Robert D. McFadden of The New York Times reflects on the honorable legacy of the late politician.

“In a 2018 memoir, ‘The Restless Wave: Good Times, Just Causes, Great Fights and Other Appreciations,’ he defended Ms. Palin’s campaign performance, but expressed regret that he had not instead chosen Senator Joseph I. Lieberman, a Democrat-turned-independent. At some McCain rallies, vitriolic crowds disparaged black people and Muslims, and when a woman said she did not trust Mr. Obama because ‘he’s an Arab,’ Mr. McCain, in one of the most lauded moments of his campaign, replied: ‘No, ma’am. He’s a decent family man, a citizen that I just happen to have disagreements with on fundamental issues.’ Analysts later said that Mr. Obama had engineered a nearly perfect campaign. And Mr. McCain confronted a hostile political environment for Republicans, who were dragged down by President George W. Bush’s dismal approval ratings amid the economic crisis and an unpopular war in Iraq. On Election Day, Mr. McCain lost most of the battleground states and some that were traditionally Republican. Mr. Obama won with 53 percent of the popular vote to Mr. McCain’s 46 percent, and 365 Electoral College votes to Mr. McCain’s 173. ‘Few of us have been tested the way John once was, or required to show the kind of courage that he did,’ Mr. Obama said Saturday. ‘But all of us can aspire to the courage to put the greater good above our own. At John’s best, he showed us what that means.’”

"Inside Patricia Clarkson's brutal 'Sharp Objects' performance: 'It's dark and nasty and twisted and beautiful'": The actress chats with The Washington Post's Jessica M. Goldstein about her role in HBO's excellent miniseries.

“In Wind Gap, poison is poured down the throats of unsuspecting children. Baby teeth are pried from little girls’ gums, and skin is sliced until it scars. Yet the most transgressive act of violence in town is the low, almost-whispered delivery of four small words. Over a drink, by candlelight, a mother tells her daughter: ‘I never loved you.’ There’s no shortage of cruelty in ‘Sharp Objects,’ the eight-part HBO miniseries based on Gillian Flynn’s 2006 debut novel, whose women pass trauma from generation to generation like a haunted heirloom. But no one cuts quite like Adora, played by Patricia Clarkson. She’s a matriarch [...] who coolly tells her wayward eldest daughter, Camille (Amy Adams), that she feels nothing for her, save for disappointment and disgust. Clarkson, the 58-year-old New Orleanian actress who sees glimmers of her own grandmother in the best parts of Adora, knows these scenes appear brutal. ‘But I think why they have the impact they do is that I don’t think Adora ever thinks of them as brutal,’ she said by phone from her apartment in New York. ‘I think that was what was essential. When I tell her I never loved her, I think it’s just Adora feeling connected to her for a moment to be as honest as she can be. … Sometimes she was just openly cruel. But other times, I think, when she speaks, she’s actually revealing the truth.’ ‘This is the most violent line in the series,’ said director Jean-Marc Vallée. ‘It’s not something you say to your child. … You just destroyed her! And she’s not realizing that. Or maybe she does, and she’s that cruel, that evil. But we’re not sure. And that’s what’s great about the character: that you try to understand, and you’re not sure.’”

Image of the Day

Robert Redford and Jane Fonda starred in "Barefoot in the Park," the 1967 screen adaptation of the 1963 play, one of four works by the late Neil Simon selected by Vox's Aja Romano to illustrate why he was one of America's greatest playwrights.

Video of the Day

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Stella McCartney's profile of David Lynch is a stirring ode to the role intuition plays in one's creative process. Look for cameos by "Moonlight"'s Ashton Sanders and "American Honey"'s Sasha Lane.

from All Content https://ift.tt/2oitCeo

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thefabulousfulcrum · 7 years

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The Joys and Terrors of an Outsider Artist

While Susan Te Kahurangi King has never consciously worked in or against a fine art tradition, her work is surely original.

via Hyperallergic

Patrick Price

LONDON – “A certain strangeness,” wrote Walter Pater, “is an element in all true works of art.” The hermetic worlds depicted by many so-called outsider artists can be beautiful in their strangeness, but also suffocating, as if governed by a tyrannical logic. Think of the dizzying perspectives of Martin Ramirez, or the obsessive cartography of Adolf Wölfli. They are like medieval illuminations of private religions.

By contrast, the drawings of Susan Te Kahurangi King (b. 1951) feel closer in spirit to Henry Darger or Bill Traylor, two very different artists in whose work a sense of joy has survived the transition to a realm of private symbolism. At its best, her work is buoyant, varied, and, while often sinister, saturated with pleasure. It rewards extended looking. Its vibrant color gives it a wish-fulfilling aura.

King is severely autistic, and has not spoken since the age of 5. She started to draw very early and has continued for much of her life, stopping around the late 1980s and resuming in 2009. Family members have always encouraged her art. Already well known in her local community in Auckland, New Zealand, only recently has the wider world taken notice of her talent. The illustrator Gary Panter made important efforts to showcase her work in the U.S., and Chris Byrne has put together shows at New York’s Andrew Edlin Gallery (2015) and now London’s Marlborough Contemporary. Both shows have focused mainly on drawings from the 1960s and ’70s.

Her scattered, surging compositions often include figures based on Disney and Warner Brothers characters, while many of the drawings at Marlborough feature the Fanta Man, a character from a soft drink advertisement. (Originally a flat, static icon, she brings him to life, portraying him from many angles.) The way in which the paper surface is treated as a flat expanse to be filled in recalls the look of children’s art. Closer attention reveals a sophisticated ability to manipulate space in original ways. A field of body parts can loom up like a wave, or remind us of a Tiepolo ceiling in which angels are massed at the edges of clouds. The twists and convolutions to which her figures are subjected alter the space around them, denying flatness and creating a dynamic force that energizes the page. Her compositions can be as lush as those of Arshile Gorky, or as subtle as a Jasper Johns. She is always experimenting.

Alex Katz once defined originality as “a combination of being inside your own head and responding to everything outside… it’s the combination of the two that makes something original.” What’s “outside” might be subject matter, one’s medium, artistic precedents, and culture in general. While it’s probably fair to say that King has never consciously worked in or against a fine art tradition, her work is surely original, and looking at it is a refreshing experience. Is she an “outsider artist”? To acknowledge a tradition, even in order to reject it, might be what makes one an “insider.”

And yet we are all, to some extent, insiders if we speak a shared language. And we are also outsiders, not quite at home in the language we inherit. King might be less at home in verbal language than most, and yet her concerns suggest an interest in the world as much as in the possibilities of her medium. For the psychoanalytic writer Marion Milner, art becomes more than therapy when it demonstrates respect for the independent integrity of its symbols, giving us renewed insight into whatever aspect of the world it pictures. The fact that King’s interests and imagery have overlapped with those of her mainstream contemporaries (whose work she had no way of seeing) is fascinating; her works teaches us something about the peculiar appeal of anthropomorphic cartoon animals.

Her treatment of various cartoon ducks is a reminder that all communication originates in the body, in its actions and passions, affects that must be cathected onto objects or surrogates if they are to be tamed and integrated. These figures appear riven by nameless forces, twisted this way and that, gesticulating wildly, dismembered, or literally tied up in knots. There’s implicit wisdom in King’s choice of classic cartoon characters as vehicles for pre-linguistic affect, recognition of something in their structure that speaks to the early experience of omnipotence, of the childish or regressive body. When Peter Saul or Markus Lüpertz were drawn to Donald Duck (at the same time as King) they were likely responding to similar qualities. But King foregrounds those qualities exceptionally well. Her use of Donald feels less like an obsessive preoccupation than a fruitful engagement. Her confident line draws attention to the way the brim of his cap echoes the Moebius-like convolutions of his beak; in one drawing the beak is a floating object, symmetrical and self-contained – a beak without a duck.

Besides other visual artists, the most compelling connection for me is with a contemporaneous poem by John Ashbery, in which Popeye “heaves bolts of loving thunder / At his own astonished becoming” (“Farm Implements and Rutabagas in a Landscape,” 1927). What is it about cartoons that might have inspired such startling, masochistic imagery?

Gary Panter believes King’s approach is basically observational, that what she draws is a version of what she actually sees. Maybe she sees these things because her perception is unusually free from the utilitarian demands that filter and focus our ordinary experience. If this evokes Dubuffet’s glamorizing of the raw and unfiltered, I would only add that it’s her use of the limiting schema provided by cartoon imagery that has made that overwhelmingly complex inner activity communicable, or perhaps given it enough structure to be seen. Whether it is a question of autonomous visions which she transfers to the page, or of a creative use of symbols similar to an “ordinary” artistic practice, we can only speculate.

During Tate Modern’s 2013 Global Pop symposium much of the discussion concerned the emergence, during the 20th century, of a worldwide “monoculture,” particularly in the visual field. How has the international dissemination of American iconography from the 20th century onwards threatened local particularities and differences? King’s work, coming from the time and place it does, inevitably looks like a commentary on this phenomenon (no less than, say, the early collages of Scottish Pop artist Eduardo Paolozzi). The insights her work provides could be compared to those of Sergei Eisenstein, who traveled to the United States in 1930, where he met Walt Disney. Eisenstein was immensely enthusiastic about Disney’s creations, which he saw as constituting a modern revival of animism with deep roots in mythical thought. “How much (imaginary!) divine omnipotence there is in all this!” he wrote, “What magic of reconstructing the world according to one’s fantasy and will! … And you see how the drawn magic of a reconstructed world had to arise at the very summit of a society that had completely enslaved nature – namely, America.” Whatever conflicting energies found expression within the popular visual culture of the 20th century, King has embodied them in her turn, and in the process illuminated them for us.

Susan Te Kahurangi King continues at Marlborough Contemporary (6 Albemarle Street, London, UK) through July 1.

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nofomoartworld · 7 years

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Hyperallergic: The Joys and Terrors of an Outsider Artist

Susan Te Kahurangi King, Untitled (1966-67), 7 5/8″ x11″. (All images courtesy of Marlborough Contemporary.)

Susan Te Kahurangi King, Untitled, c. 1966-1967 graphite, colored pencil and ink on found paper 10 1/8 x 8 in.

Susan Te Kahurangi King, Untitled (c. 1965-1975), 6 7/8″ x 6 3/8 in.

Susan Te Kahurangi King, Untitled, 1966-67, graphite and coloured pencil on found board, 16 1/4 x 13 in.

Susan Te Kahurangi King, Untitled (2 Sept 1965), 8 1/4″ x 10 3/4″.

Susan Te Kahurangi King continues at Marlborough Contemporary (6 Albemarle Street, London, UK) through July 1.

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s0022803asfilm · 7 years

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Post D: Final Textual Analysis draft

How is Revenge a prominent theme in Carrie and The Woman in Black?

Carrie is a 2013 physiological horror film, directed by Kimberly Pierce and distributed by Metro Golden Maywer, it is a reimagining of the Stephen King novel of the same name and the 1976 and 2002 film adaptions of the novel. The 2013 version of Carrie tells the same story, only in a more modern setting.

The Woman in Black is a 2012 British-American horror film, released in 2012 by HammerHead Studios; it is an adaption of the 1983 horror novella, of the same name (written by Susan Hill), and the second adaption of the novel, the first being a TV movie, released in 1989.

Carrie stars Chloe Grace Moretz in the titular (protagonist) role, a misfit, and abused teen with the terrifying gift of telekinesis, who seeks a literal bloody revenge when she is pushed too far at her senior prom.

Likewise, The Woman in Black also features a supernatural force seeking vengeance for the premature death of her son, Nathanial.

For both films, revenge is a prominent theme and is the climax of them.

For this essay I will be discussing how revenge is prominent in both films and how it conveyed using the four key micro features of film, and how these key areas contribute to make these scenes all the more dramatic to enhance the audience’s viewing experience.

In Carrie, the titular character slays the majority of the attendees at her prom after being doused in pig’s blood by merciless bullies who label this as a ‘prank’. The use of pig’s blood is symbolic and a foreshadowing element of how Carrie is seen as a pig and as a result, treat like an animal by her peers, both in school and by her own mother.

For example, when Carrie is elected as prom queen, dark foreboding orchestral music (non-diegetic score) under vamps the scene as she and Tommy Ross (Ansel Elgort) begin to ascend to the stage, this reflects the malicious intent of Chris and Billy, who are both hiding up in the stage rafters.

This choice of character placement denotes to the audience that the other characters, aside from those who are in on it are blissfully unaware of Chris and Billy’s presence (and as a result, for many, their upcoming deaths).

When Carrie is on stage, the camera briefly frames her, happily smiling in a close up, the length of this shot (about one second) reflects how short lived her happiness is, before the camera cuts to a long shot of the blood being dumped over the unsuspecting Carrie, this shot shows the reactions of both Tommy and Carrie. The camera then also cuts to the same event, repeated again, only this time in a aerial frame.

As Carrie comes to realize that she has been pranked again, the camera zooms in on her now bloodied hands, almost simulating how the prom-goers are looking up and realizing that something is wrong, imitating their point of view. This is also repeated from what is presumably Carrie’s point of view, a Dutch tilt has the camera tilting up from the floor to the audience as they step back, shocked at what has happened to Carrie.

Through this sequence, the lighting was mostly high key, perhaps due to the diegetic spotlights on the stage, however, after the intense close up on Carrie’s eyes as she begins her revenge, the lighting becomes much darker, which reflects how Carrie’s darker and murderous side of her personality is beginning to show. This use of mise-en-scene is also aesthetically beneficial as it allows the fires (started by Carrie destroying the lighting rigs) to stand out more because their ‘prank’ has ignited her thirst for revenge, which though it reduces what the audience can see allows for a more realistic and in turn horrific point of view, as the audience can interpret and imagine just how Carrie is killing each of her classmates, emphasized by the use of asynchronous foley sound, such as smashes and screams.

A stark contrast to this is how The Woman in Black presents it’s theme of revenge, instead of relying mostly on on-screen action, this film relies on a mix of sound and small visual clues, such as set pieces moving slightly across a screen. This helps to build up tension by using physiological effects to make the audience feel as if they are being watched, putting them into a similar scenario that Arthur Kipps (the protagonist) is going through, therefore almost breaking the fourth wall. This means that the movie submits to the convention of stalking during a revenge, this is done to help build up the anticipation for the penultimate revenge, and is also done so that the spectre can intimidate Arthur as well as the audience, thus she assures her dominance over Arthur, almost telling him that hshe is going to ‘get him’ in a subliminal manner.

One way in which this is emphasized in this film is through the use of lighting. In one of the scenes where Arthur hears a noise coming from somewhere in Eel Marsh House (asynchronous diegetic sound), he rushes up to the source of the noise, gripping a candle due to the low key lighting in the room, whilst being framed in a mid-shot. This stylistic choice was made to not only emphasize the historical time frame of the story, but also to help build a somewhat daunting, spooky and dangerous atmosphere. Making the audience feel as of they are also being stalked by her, reflecting Arthur’s fears and exhillerence.

The audience can connote that Arthur’s candle (a prop) is not only to aid him to see in the dimly lit house, but perhaps to also deter the specter that only the audience know is indeed stalking him, this links in with the secondary theme of religious imagery as well as the primary theme of revenge, as he white color of the candle connotes purity, peace and innocence, a stark contrast of Jeanette’s evil, unnatural and vengeful personality, white is also considered by many people to be a godly colour, whereas black, the colour Jeanette is dressed in is considered to be dark and demonic.

Much like Carrie, the antagonist’s penultimate revenge occurs right at the end of the film, when everything was supposed to be restored back to normal. This plot twist shows us the death of Arthur and his son, once again at the hands of Jeanette. During this scene, Arthur and Sam’s dialogue fades away as Joseph begins to become distracted and eventually spots the Woman, this puts the audience in the shoes of Joseph as he mindlessly walks towards the train tracks in a suicidal trance. In the ‘run up’ to this scene, we see Joseph framed in a mid-shot with a shallow field of depth, which creates an almost bokeh like image due to the blurred station lights behind him. Because Joseph is the principle focus of this shot, it can be connoted that this shot is from the point of view of the Woman herself as she plots her final revenge, by killing he protagonist and his child.

A long shot is also used to show Joseph standing on the train tracks after being hypnotized by the Woman, his is effective as in shows how tiny Joseph is in proportion to the tracks and further reinforces the fact that he is a child, making this scene all the more unsettling, due to the fact that it isn’t until Arthur notices the missing grip on his hand that his son is actually in grave danger, as he rushes to save him, but is still too late. Their deaths however, are not shown, only the aftermath, such as Sam’s horrified reaction (close up) and his point of view as the train goes by in slow motion, revealing the ghosts- though perhaps hallucinogenic victims of Jeanette, staring at him through the train windows on the opposite window. This scene is mostly silent aside from the ambient sound of the train going past Sam as well as grainy, somewhat demonic and iconic noises that resemble some kind of human scream, only heavily distorted.

The fact that Sam sees his and visibly reacts with horror connotes that he has seen the ghosts as well as Arthur’s death and judging by his physical reaction, that the event will haunt him, for the rest of his life, this links in with the interweaving storyline that his wife knows of the Jeanette’s existence (due to her son presumably) being killed by her, but was deemed as mentally insane and was often chloroformed whenever she’d have a fit or an episode, regarding her existence.

However, the aforementioned belief of her existence is a crucial yet subtle part of the story, she carves a crude sketch of a woman hanging herself; which is later hallucinated by Arthur himself and is revealed to be the way that Jenette actually died after Natheniel (her son, whom she is avenging) died after drowning, which is also in turn how Elisabeth and Sam’s son actually died.

This contrasts with Carrie because in Carrie, she only seeks her revenge at the end and is a human being, (granted with the gift of telekinesis) whereas Jeanette is a former human turned spirit, who seeks her revenge throughout the entire length of the film but remains largely unseen, much like an ominous presence, mirroring how Jeanette cannot usually be seen by adults, but mainly only by young children, who always die after spotting her,

The main theme the of The Woman in Black is revenge, and very much like Carrie, also has visual motifs of religion and supernatural enties/powers and death,

Both of these films adhere to common conventions found in horror movies, such as heavy orchestral scored music, that will often plunge into silence and from there rely solely on sound effects, often due to the fact that hearing a sound alone is frightening due to the fact that in horror movies, it shouldn’t normally be occurring in a normal situation,

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