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rippleberries · 2 months

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Your Weyounsday treat: One of the first articles about Jeffrey Combs published.

Arizona Daily Star Sun [Tucson, AZ], 29 April, 1979, pp. 1, 4

Did they have to give the article that title? (ಥ﹏ಥ)

[BEGIN ARTICLE TRANSCRIPT]

The Arizona Daily Star TUCSON, SUNDAY, APRIL 29, 1979 Sunday Loneliness comes with actor's role

At 24 and looking as if he still drips with innocence, young is a word that can be freely used to describe Jeffrey Combs. He is young, looks young, and is in the young years of his professional life.

Also, he had an early and, given his calling, perhaps prophetic brush with a person of that name.

"My parents had a car accident when I was about a year old and we had to go into a hospital," explained Combs over lunch. "Loretta Young was in the same hospi- tal and had requested that a nurse bring a baby to her every morning to hold. So, while I was there, a nurse would come to my mother in the morning to take me up to her room and Young would feed me."

Youthful naiveté is what Combs' character in the Arizona Theatre Company production of "The Show-Off" is all about. In the play, which has its last performance tonight at 7 in the Tucson Community Center Little Theatre, Combs plays the youngest son of the family, a con- stantly preoccupied fellow who trips over his tongue and shoelaces and brings home the bacon with a formula.

This has been Combs' first season with ATC and he says "The Show-Off" has been his favorite play. Tucson audiences have also seen him as the narrator/nephew in "A Christmas Carol," as Valere in "Tartuffe" and as Diego in "The Royal Hunt of the Sun." But it's the current George Kelly comedy that places as the favorite, partially because it feels so familiar.

"The whole feeling of the show is so human, so close in a way to my own life that I didn't have to reach that far to get the feeling." Combs, the fifth of seven children, knows what a tightknit family is like.

"My own family ties are very, very close and I miss the times of being together with them. It's hard to be in such a nomadic kind of work I always want to see them.

"At times, being an actor can be one of the most rewarding things in the world. And at other times it can be very lonely."

Combs is the youngest member of the ATC resident company and he has experienced both the rewards and the loneliness this season. He says that it's part and parcel of the career he's chosen, and that it will be tempered as he grows older and gets more professional experience in the process. But he's impatient and knows it.

"One of the disadvantages of working in Tucson is the isolation. The sheer locale of the city being geographically where it is.

"I am an impatient person. There are people that I love, to whom I've had to say 'see you later.' They ask 'why?' and I have to say I'm going to Tucson to this theater. And that I might not be the same person when I get back, just as they might not be the same."

But, Combs says philosophically, the phases of life are like that. And he knows that he has been free in making the choices, even though they still hurt at times.

"There was no question in my mind whether I wanted to come here or not - certainly I felt the sacrifices were worth it. And I would like to come back here next year."

But he would also like to have the chance to experi- ment with his own ideas, collaborating with others in improvisational structures, using his own material to cre- ate worlds, rather than someone else's.

"The chances to do those things would be the only reservations I would have about coming back. It's not that I wouldn't want to-Sandy (Rosenthal) is one of the most energetic spirits of the theater. He loves it more than anybody I've ever seen. But I have this itching and my focuses and desires may go in a direction that might not be appropriate here."

Combs says that the idea of an ensemble resident company is not new to him; in some ways, it's the system he knows best from his work with the Pacific Conservatory Theatre of the Performing Arts and the Old Globe Theatre.

"I've pretty much been nurtured, pushed in the en- semble direction all along. I haven't really gone out and jobbed into a company for a short period of time, or been put in the position that the prime directive is to 'get the show up by 8 p.m. Tuesday." But he's found that he's grown in the season he's spent with ATC.

"I've synthesized some of the things I've learned relearned them through experience. I feel really relaxed in this company. Not in the sense that I'm so confident that what I'm doing is good, so I can relax, but in the sense that I can make a mistake and not feel like I've really let someone down. I can learn from the situation.

"And I've learned a sense of what the professional world is like, what the good side is like. Take someone like Bob Ellenstein. He doesn't have to be here - the only reason he is is that he's dedicated, that the experiences here will make him a better actor. He could just as easily be making 15 times more money somewhere else, doing things that were not as enriching to him."

Combs says he is unhappy with a portion of his abili- ties, particularily when he senses he's acting out of techni- cal proficiency rather than a more emotionally-based ground. There needs to be a balance, and he says that his season with ATC has given him the opportunity to work on that weakness.

And he says he waivers between the acting world and his own desires for domesticity. On the other hand, he's exactly where he wants to be.

"I love what I'm doing. The commitment is so drastic that it can be frightening, at times. The more renown you get, the more value placed upon you as an artist, the more freedom you have and the more choices you can make. But, being a young actor, you can't have all those freedoms yet.

"One needs to have some sort of perspective from other things. It's just that I want so badly to be in this business and to do the things I want to do. Maybe it's an obnoxious thing for someone only 24 years old to say, but I don't want to be a victim. I'd rather be the perpetrator, if you will." [END ARTICLE TRANSCRIPT]

[BEGIN PHOTO CAPTION TRANSCRIPT] Combs says that he has felt lonely at times this season, away from his family, friends and home base in California. At the same time, this year has been one of growth with the sort of challenges any actor needs, particularily in the formative, initial years of a professional career.

Now finishing his first sea- son with the Arizona Theatre Company, Jeffrey Combs hopes that it won't be his last. But the 24-year-old actor also wants to scratch the itch he has to do some of his own work in a collaborative, improvisational situation.

Photo by Tim Fuller [END PHOTO CAPTION TRANSCRIPT]

#jeffrey combs #it is Weyounsday my dudes #Weyounsday

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joelletwo · 20 days

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🎉🎉Star Trek Sunday 🎉🎉 every sunday at 9:00 PM EST

localized entirely on my blog and yours

remember cable tv? coming home and turning on the background noise machine and sometimes u end up catching a really cool random episode you have no context for? maybe you dont even know the show and can't keep any of the characters straight from scene to scene but it's still doing something interesting that grabs you? well do i have a group dash activity for you!

open for anyone who wants to follow along via dash liveblog to drop in or out at anytime. star trek familiarity isn't needed - this is how i got into star trek! i still frequently have no idea whats going on lol.

pluto.tv has multiple trek channels (we'll be switching between whichever of voy and dsnine is more interesting each week, probably. i miss my wives if im away from either one too long. they also aired in the same time and have some plot/character crossover). pluto is usa-only but can be vpn worked-around. pluto also runs like shit and breaks often. woo!!!!!!!!!!

[my wife dsnine channel]

[ID from alt: odo looking over a ship railing contemplatively, narrating, "nobody ever had to teach me the justice trick."]

the queer polycule of coworkers in the space mall deal with the aftermath of space fascist occupation and the threat of repeated space war. with religious background shenanigans i still dont understand. the ferengi rehabilitation show that fails at that spectacularly. the charismatic as all get out antagonists who genuinely suck show <3 half of whom are jeffrey combs. loves a hamfisted harrowing historical allegory

[my wife voyager channel]

[ID from alt: tuvok, wisely: you should anticipate paradox.]

they want to get back to earth and can't get to earth ): a resistance group and a state military group get stranded on the ship voy together and learn to overcome their differences in definitely politically coherent ways. i got banned from social media for saying what captain janeway did to her cyborg mentee she's teaching to be human again. loves a harrowing "wouldnt that be fucked up if?" psychological labyrinth

come hang out!!!

#sts #LEAVING THIS OPEN TO EDITING esp when i get a better voy cap........ but for now new post #true forever but esp this week no one should feel pressured to come <2

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spnscripthunt · 1 year

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SPNNJ Sunday autographs:

JEFFREY DEAN MORGAN on 14.13 "Lebanon" (Yellow Draft). We'll be adding Sam Smith at SPNSF, J2M at Charlotte, and if the stars align (🤞🕯🙏) we'll get Kurt Fuller too

Jim Beaver on 3.04 "Sin City" (prev. J2 from SPNLV 2023)

Thank you 🫶

#admin: lets-steal-an-archive #i am showing restraint #i did not add the We Have Done the Impossible and That Makes Us Mighty gif #spnnj #jeffrey dean morgan #jim beaver #spnlv #jensen ackles #jared padalecki #next up: chicon - jib13 - spnsf - charlotte - momento con - minnesota - washington dc

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conspiracytheoriesposts · 1 year

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The Legend of Bigfoot

The legend of bigfoot goes back decades. In 1958 Andrew Genzoil, who worked for Humboldt Times, released a section about how some loggers discovered large footprints. What was meant to be a “good sunday read” started one of the biggest conspiracy theories today. After the release of the small article, readers of the newspapers became very interested in the mysterious footprints reported. A followup article was written by Betty Allen, another fellow Humboldt Times journalist. There Allen started a name that would be known by millions – BigFoot. However, those 1958 footprints reported were found to be actually planted by Ray Wallace. In 2002, after his death, his kids reported their dad made them “as a joke.” The legend of Bigfoot is known by many titles from many different cultures. In the mountainous regions of North America it is primarily known as Sasquatch. Bigfoot didn’t become known by people until after 1958, but people have been reporting sightings of a mysterious ape-like creature roaming the woods as early as the 1800’s through the early 1900’s. Reports of large footprints and even some grainy pictures and videos have added onto the mystery. Famous footprints reported in 1958 transformed the myth into the media.. After 1959, reports of the mysterious humanoid creature, wood workers from all over began reporting sights of the mysterious creatures and large footprints. There were even some reports of this 7 foot creature being seen crossing a road or digging for and eating ground squirrels.

This is the most famous video of Bigfoot released. Rodger Patterson filmed the most famous and controversial bigfoot sightings of all time. In the video, Bigfoot is on video for less than a minute. Many believe the short film and any other evidence found through the years, but many are hesitant. Jeffrey Meldrum, a professor at Idaho State University who studies the sasquatch stated, “It’s all so easy to say, ‘Obviously that’s a man in a fursuit.’ Until you see it up against a man in a fursuit.” Peter Byrne, a bigfoot enthusiast, went so far to get the FBI to test hair and tissue samples in 1977. However, no connection was found.

Bigfoot today has become extremely popular through the years. Bigfoot has devolved into sports mascots, children's books, and even being a star in the popular series, “Finding Bigfoot” which lasted 11 seasons. The most recent sighting of Bigfoot was in June of 2018 by a lady in Florida who reported a mysterious creature. Other evidence was also found – Bigfoot scat, nests, and odd noises. Bigfoot has become an important symbolic creature to many in the Oregon and Northwest area of the United States.

Fact or fiction, what do you believe? Is Bigfoot real or just a hoax?

#conspiracy #bigfoot #conspiracy theories #myth #sasquatch #bigfoot sighting

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ingek73 · 8 months

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The Windsors are all about forgiving and forgetting – when it comes to Prince Andrew

Marina Hyde

Some royal rehabilitations are faster than others. The Duke of York’s jaunt with Kate and Wills must have set a new record

Tue 29 Aug 2023 14.44 BST

Do all “fusses” die down eventually, permitting the fussee to return to life largely as they knew it, while the public scratches its head and tries to recall precisely which scandal/multimillion dollar out-of-court settlement/Pizza Express branch it remembers them from? The question arises after the return of Prince Andrew to the royal tableau, driven last weekend by Prince William to church near Balmoral, where the Windsors are currently all gathered (with just the two notable exceptions). I must say I do think that William and Andrew missed a trick not doing carpool karaoke as they rocked up to Crathie Kirk, either to Take That’s Back for Good, or the Gary Puckett and the Union Gap’s jailbait classic Young Girl.

Even so, how fitting that this staged sighting should occur on the very weekend crowds of people descended on Scotland in the hope of spying the Loch Ness monster. You can imagine being there when the cry went up. Oh my God – there it is! Look – you can see its head and neck in the front seat, right next to Prince William! Quick, get a photo, even if “friends” will later claim it’s fake because its fingers aren’t chubby enough.

Anyhow: welcome back, Uncle Andy. Typically, royal rehab efforts move at a more glacial pace. For example, the plan to make the British public fall back in love with Prince Charles after his divorce from Princess Diana and her tragic death was slated by courtiers to take years of slow and painstaking image work. But the picture of Andrew being driven last Sunday by William and Kate, the family’s biggest current stars, comes merely one year after the Duke of York finally settled a civil claim against him by Virginia Giuffre. Giuffre was treated as a sex slave by Andrew’s friend, the late international paedo trafficker Jeffrey Epstein, and long alleged that she was sexually assaulted by Andrew three times when she was 17. The duke denies everything, and his reported $12m settlement did not contain an admission of guilt.

And there he was on Sunday, next to William up front, with Kate relegated to creasing her outfit on the back seat. As indicated, these royal stagings are so often wordless scenes, so we don’t know the full story behind this picture. I suppose it’s remotely possible that when the family were having breakfast that morning, Prince William clocked the presence of Prince Andrew and hissed: “You need to spend a very long time in church indeed. In fact, you know what? I’ll drive you there myself.” Possible, but vanishingly unlikely. Andrew was, after all, pictured exiting the church at the same time as the others, instead of lingering for two or three hundred years after.

So this is not some accident, some last-minute instance of Andrew calling shotgun, or of the Waleses suddenly sighing: “OK, fine, jump in the front and we’ll give you a lift.” Please remember that we are dealing with a family widely held to telegraph fantastically complex and significant messages merely by their choice of brooch or jacket colour, which the public is duly invited to parse for meaning. So sticking a disgraced dimwit in the front seat of your car is not just some random thing that happens of a Sunday morning. This is a planned and choreographed moment, with William as the designated driver.

Even so, doing Andrew’s reintegration at Balmoral does feel particularly on the nose. Attendance here connotes the most particular closeness to the royal family’s wellspring of ineffable majesty and authority – which is perhaps why Epstein himself jumped at an invitation to Balmoral back in 1999, when Andrew had him and Ghislaine Maxwell come and visit the castle. This is the version of staying somewhere at Her Majesty’s pleasure that doesn’t involve sewage in your cell or being allowed to take your own life because it would be better all round for your Famous Men WhatsApp group. (And yes, I do know that Jeffrey and Ghislaine were in New York jails so not technically Her Maj’s guests, but you get the point.)

There were probably 500 things Epstein would have objectively preferred doing than yomping round Balmoral, even if 499 of them were illegal. But the frisson of tightness with the royal family was worth journeying to the deck of the famously spartan log cabin on the estate, and posing with Maxwell on the same bench on which the late Queen Elizabeth II was frequently pictured (even if she wasn’t in residence at the castle at the time). Epstein kept the photo of him and Ghislaine at this cabin in his Manhattan mansion, which was eventually raided by police. Thereafter it was presented as evidence in Maxwell’s trial, as part of prosecutors’ attempts to show that she and Epstein were “partners in crime”.

The third wheel on that trip was Prince Andrew himself. Presumably he took the photo? That’s a typical question with those three, with the notorious picture of Andrew with his arm round the hip of the then 17-year-old Virginia Roberts – while Ghislaine smirks in the background – often believed to have been taken by Epstein himself. Quite why the Prince and Princess of Wales wish to form a new photo trio with Uncle Andy is a mystery. But it comes across as the clearest signal that Andrew’s “banishment” from the family is the type we could all live with: one where you get a free mansion, don’t have to work, and all your significant rellies appear to believe your side of the story and are happy enough to give you a helping hand. The comeback will be greater than the setback – or at least of commensurate size.

#prince andrew #prince william #marina hyde #the guardian #abolish the monarchy #jeffrey epstein #ghislaine maxwell

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laf-outloud · 1 year

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https://twitter.com/CreationEnt/status/1638661142280011776

Jeffrey Dean Morgan (“John Winchester”) will be joining The Road So Far… The Road Ahead in New Jersey, being held April 14-16, 2023! He will be appearing on Sunday.

They somehow get the big names to fill in for Jared. Mark S who hadn't done CE cons in years filled in when Jared needed someone. Now they land JDM to fill in for him in NJ?

I saw that and my immediate thought was that Jensen called in a favor! He probably doesn't want to have a repeat of the last New Jersey con where he shared an awkward panel with Misha. I'm guessing JDM will join Jensen for at least one of the panels.

I noticed they also got Jim Beaver and Mark Pellegrino for the con, who aren't frequent guests. Guess it takes a lot of star power to make up for Jared's absence!

Of course, what I'd love to see is JDM school Drake on who John Winchester really was, but he's only scheduled for Sunday. LOL!

#ask box #ce njcon 2023 #jeffrey dean morgan #drake rodger critical #jim beaver #mark pellegrino

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beardedmrbean · 2 months

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Pro-Palestinian groups at Harvard University, including one comprising faculty and staff, reignited the controversy over campus antisemitism over the long weekend when they posted an antisemitic cartoon on their social media accounts.

The cartoon, which dates to the 1960s and was condemned when it was first published, showed a hand inscribed with a Star of David and a dollar sign holding ropes around the necks of a Black man and an Arab man.

Interim Harvard president Alan Garber condemned it as “flagrantly antisemitic” in a message to the Harvard community Tuesday evening.

The cartoon was included in a social media post Sunday by two Harvard student activist groups — the Palestine Solidarity Committee and the African and African American Resistance Organization — as part of a graphic about historical ties between the Black civil rights movement and pro-Palestinian advocacy.

Additional student groups and a pro-Palestinian faculty and staff group later posted the graphic on their own accounts.

“The cartoon is despicably, inarguably antisemitic,” Rabbi David Wolpe, a visiting scholar at Harvard Divinity School, wrote on social media Monday after a group called Harvard Faculty and Staff for Justice in Palestine posted the image online. “Is there no limit?”

The cartoon appears to have originated from a 1967 newsletter published by the Student Nonviolent Coordinating Committee, a major player in the 1960s civil rights movement.According to a New York Times article at the time, the two men depicted with ropes around their necks are boxer Muhammad Ali and then-president of Egypt Gamal Abdel Nasser.

According to the Times article, the SNCC newsletter condemned what it described as atrocities committed by Zionists against Arabs. The Times quoted a then-director of the Anti-Defamation League saying the newsletter, which included the cartoon, “smacks very heavily of antisemitism.”

The graphic posted by the Harvard groups noted the “historical roots of solidarity” between the “Black liberation movements and Palestinian liberation.” It included the words, “The Student Nonviolent Coordinating Committee likened Zionism to an imperial project. . .” beside an image of the cartoon.

A number of the Harvardorganizations that posted the graphic, including PSC, AFRO, and the faculty group, later took itdown. The faculty group apologized for posting it.

On a campus that has been riven by reports of resurgent antisemitism since Oct. 7 of last year,the posts provoked an uproar over the weekend.

University spokesperson Jason Newton called the social media posts “despicable.” Jeffrey Flier, a Harvard professor and former dean of Harvard Medical School, said in a social media post that there was “[n]o debate about this [cartoon] being antisemitic.” Harvard Chabad, a Jewish group, called it “Reprehensible. Bigoted. Hateful.”

“At a time when antisemitic incidents are at an all-time high and Holocaust denial is spreading both in the U.S. and abroad, Harvard faculty and students must understand and be held to account for the tremendous consequences of proliferating insidious tropes,” the Harvard Jewish Law Students Association said in a statement.

Newton said the matter is being referred to the Harvard College Administrative Board, which handles disciplinary proceedings for students and sanctioned student groups, such as the Palestine Solidarity Committee.

On Tuesday, Garber, who is Jewish, condemned the posts. “Perpetuating vile and hateful antisemitic tropes, or otherwise engaging in inflammatory rhetoric or sharing images that demean people on the basis of their identity, is precisely the opposite of what this moment demands of us,” he said in the message emailed to the Harvard community.

“The University will review the situation to better understand who was responsible for the posting and to determine what further steps are warranted,” he added.

ThePalestine Solidarity Committeeisthe same group that published a statement on Oct. 7 last year — the day of the Hamas-led attack on Israel — that plunged the university into turmoil after critics denounced it as justifying terrorism. “Today’s events did not occur in a vacuum,” the statement said. The group later said the statement was not a justification for violence against civilians, but rather sought to place the Hamas attack in the context of the long, violent Israeli-Palestinian conflict.

On Monday afternoon, as the backlash mounted, the two student groups took down the original graphic and replaced it with a new one that did not include the offensive cartoon. In a caption accompanying the new post, the groups said they had “inadvertently includ[ed] an image that played upon antisemitic tropes” and that the cartoon “was not reflective of our values as organizations.”

“Antisemitism has no place in the movement of Palestinian liberation, and we wholeheartedly disavow it in all its forms,” the groups said.

The faculty group removed the post from its Instagram account and issued a statement. “It has came to our attention that a post featuring antiquated cartoons which used offensive antisemitic tropes was linked to our account,” the group said. “We apologize for the hurt that these images have caused and do not condone them in any way.”

As of Monday morning, the faculty group listed more than 100 signatories on its website under a statement describing the group’s goals. They included faculty and staff from Harvard’s law school, medical school, college, and school of public health.

One of the group’s leaders was Walter Johnson, a professor of history and African and African American Studies, who was, as of last week, also the faculty adviser to PSC. He has since resigned from both groups, according to messages seen by the Globe.

In a statement Tuesday, Johnson said,“I was surprised and saddened by the posting of the images, as I know many others were, but I am no longer in a position to speak on behalf of any organization.”

At some time on Sunday or Monday, the faculty group removed the names of all signatories from its website, according to archived versions of the site. A spokesperson for the group did not respond to a request for comment Tuesday.

The social media posts were widely condemned over the weekend, including by critics from beyond Harvard’s walls. Bill Ackman, the billionaire hedge fund manager and Harvard alumnus who has led an activist campaign against Harvard over what he describes as runaway campus antisemitism, described the groups’ sharing of the cartoon as “grim” in a post on X, the social media platform.

The House Committee on Education and the Workforce, a congressional committee investigating Harvard over antisemitism allegations, wrote on its X account: “This repugnant antisemitism should have no place in our society, much less on Harvard’s faculty.”

That congressional investigation entered a new phase on Friday when chairwoman Virginia Foxx, a North Carolina Republican, said she was subpoenaing Harvard leaders, including interim president Garber. The subpoenas, reviewed by the Globe, would force Harvard to turn over a wide range of documents including disciplinary records, minutes of board meetings, and internal communications.

Foxx has contended Harvard has failed to create an environment for Jewish students free from discrimination and harassment. Separately, several Jewish Harvard students are suing the school over similar allegations.

Garber, who took over the presidency after former president Claudine Gay’s resignation last month, has convened two task forces to combat antisemitism and Islamophobia, which students say have gotten worse since the Oct. 7 attack on Israel and Israel’s retaliatory war in the Gaza Strip.

#nunyas news

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broadwaydivastournament · 25 days

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Broadway Divas Tournament: 2A

Harriet Harris (1955) "HARRIET HARRIS (Madame) is enjoying a career of highs and not-so-highs. Due to word count constraints, let us focus on the omnium gatherum of highs. 2022 Tony and Drama Desk Awards for Best Featured Actress in a Musical for Mrs. Meers in Thoroughly Modern Millie. Other Broadway: Present Laughter, Cry-Baby: The Musical, Old Acquaintance and The Man Who Came to Dinner. Off-Broadway: Standing on Ceremony; Yeast Nation; Jeffrey (Drama Desk Nomination); Bella, Belle of Byelorussia (Drama Desk nomination), Christmas on Mars; Rude Entertainment. Regional appearances include Guthrie Theater, La Jolla Playhouse, Kennedy Center. Film Credits include Memento, Nurse Betty, Addams Family Values. TV credits include "Desperate Housewives" (as Felicia Tillman), "Frasier" (as agent Bebe Glazer). Member of the Acting Company, AEA." - Playbill bio from Cinderella, November 2013.

Carmen Cusack (1971) "CARMEN CUSACK (Clare Boothe Luce) LCT: South Pacific (1st national tour), Broadway: Bright Star (Theatre World Award, Tony, Drama Desk, Outer Ctitics Circle, Drama League nominations). Off-Broadway includes Call Me Madam (City Center Encores!), and Carrie (MCC). Regional includes Designing Women (TheatreSquared), Lempicka (Williamstown Theatre Festival), Annie McDougen in First Wives Club (Chicago), Dot in Sunday in the Park with George (Chicago Shakespeare Theater), and Elphaba in Wicked (1st national tour; also Melbourne, Australia). West End includes Fantine in Les Miserables, Rose in The Secret Garden (Royal Shakespeare Company), Saucy Jack and the Space Vixens (The Venue) and Kim in Personals (Apollo Theatre). U.K. tour includes Christine in The Phantom of the Opera and Eve Cassidy in Over the Rainbow. Film: A Beautiful Day in the Neighborhood. TV: "Sorry for Your Loss" (Facebook Series).

NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

youtube

"Harriet Harris is a delightfully batty old broad who is killing it in her late-stage career. She is booked, busy, and getting the recognition she deserves."

youtube

"Look, 2016 was the Hamilton year, and Bright Star was probably not a strong contender even without it, but I remember being vividly enamored by the pretty woman who did the Tony performance. Lo and behold, Carmen Cusack."

#broadwaydivastournament #broadway #broadway divas #tournament poll #harriet harris #harriet sansom harris #carmen cusack #round 2a

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cyarskaren52 · 1 month

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The movie “American Fiction” is not based on a true story. But it is rooted in reality. At its core, the movie— starring Jeffrey Wright as a frustrated novelist—is about the use of racial stereotypes to sell books. And, Variety’s Angelique Jackson tells Kennedy Rue, it’s also prevalent in movies and TV shows in real life—from the “Angry Black Woman” trope showcased in reality shows like “The Real Housewives of Atlanta” to “The Thug” caricature seen in TV series like “BMF”. The reason? “We still see so many of these stereotypes reflected in TV and film is quite simply because there are not enough black people in the room making these decisions,” Jackson says, noting that just six percent of writers, producers and directors in Hollywood are black. “That can sometimes lead us to these pieces of art that don’t accurately represent the black experience.” “That doesn’t mean that we shouldn’t tell stories about slave narratives,” Jackson continues. “But they have to be told with a very specific sense of understanding and that sometimes is lacking when we see these projects continue into the pipeline. Based on 2001 book “Erasure” by Percival Everett, “American Fiction” was written and directed by Cord Jefferson who is black. The script earned him an Oscar Sunday for Best Adapted Screenplay.

#Instagram #Black representation #black excellence #black tumblr

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blogger360ncislarules · 3 months

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Justin Hartley should be having a good weekend.

The actor, best known for his sensitive performance as Kevin Pearson on This Is Us, returns to network television with his own vehicle, Tracker, premiering Sunday night after the Super Bowl game. This is a terrific launchpad for a series that fits in CBS’s particular crime-procedural wheelhouse. Downton Abbey might have been a different story.

Based on the central character in a series of thriller novels by Jeffrey Deaver, Tracker is about — well, it’s hard to pinpoint the phrasing Colter Shaw (Hartley) might use if he were asked to describe his career and experience on a resume. In the premiere episode, he refers to himself as a “rewardist,” but he says this with a mild ironic twinkle, mostly because he’s just been accused of being a mercenary. Not even a mercenary likes to be called that.

Technically Shaw is a mercenary, but not a cynical or hard-hearted one. In fact, he seems absolutely indifferent to the thousands of dollars in income he takes home in the first two episodes. He’s content to follow his own path, driving from adventure to adventure with his Airstream trailer in tow, finding and rescuing people who’ve gone missing. Collecting the money offered by their desperate loved ones is almost beside the point. Shaw never mentions college loans that need paying off or credit card payments that are past due.

As a mercenary, in other words, he’s about the journey, not the end. As a crime-solver, he’s about the end, not the journey.

It’s a tricky role to bring off, but Hartley keeps his performance nicely centered — like a bubble in a spirit level — between a tone of light authority and the occasional furrow-browed hint of inner trouble. In the second episode, which involves a cult and a gun-toting blonde who could have slinked in from Raymond Chandler, Hartley leans a little toward that darker side, and it gives the show some added kick.

Because Shaw does have a darker side, we learn. One reason he’s a good rewardist (career counselors: please help) is rooted in his strange, dysfunctional childhood. His academic father (Lee Tergesen, that ever-dependable character actor) went off the deep end and moved his family way off the grid, teaching them survival skills in the face of what he warned them was a vast, murky, ever-encroaching conspiracy.

The flashbacks we see indicate that the experiment ended badly — yet even now Shaw is dogged by the possibility that this business with his father somehow isn’t done after all, as he makes his solitary way across often broody Western landscapes. From time to time you wonder if he isn't going to run into Frances McDormand from Nomadland.

It'll be fun watching Shaw solve his weekly cases and earn his moral and financial payoff — but the bigger, sustaining draw will be watching him track the impact of his past on his present.

#tracker cbs #tracker

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rippleberries · 1 month

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Jeffrey Combs runs into William Shatner

[BEGIN TRANSCRIPT]

JEFFREY COMBS: I have to tell a story. You know, I do Vegas every year. The Star Trek, uh err I guess now it's a Sci-fi convention, but it's all Star Trek. In Vegas, and we do the Rat Pack, which is, uh-- by the way we're coming out with a CD. With an album of our show. It's really great. So keep your ears open for that. We should sing it that well.

MODERATOR: Faster and with a drum track.

JC: And so anyway, we get our tuxes, and we have cocktails, and we go out there, and we sing. We always close the convention on a Sunday night with our show. It's a tradition. We've done it for over ten years. And last year, we were in tuxes and, you know. We go into the green room, getting ready to do it. And who's sitting there but [William] Shatner. Yeah! Shatner's sitting there, like "What the fuck's Shatner doing in the green room, like, all by himself? Just sitting there?" And he goes [in a halting manner, impersonating William Shatner] "What are you dressed up in tuxes for?"

[laughter]

JC: Now mind you over the years, you know-- is he around?

[laughter]

JC: Over the years, I have had many interactions with Shatner. And he never remembers me.

[laughs]

JC: I don't think I'm the only one. It's just.

MODERATOR: You're not the only one.

JC: [impersonating Shatner] "Hi, how are you." You know, it's just. "We've, we've met." So anyway.

M: [impersonating Shatner] "Oh, Jeffrey"

JC: I mean, years and years and years ago I was at a convention in Denver, and I was in the green room. And I was getting something to eat, and I was looking at this tray of fucking stuff. And from behind me I hear [impersonating Shatner] "Are those cold cuts fresh?"

[laughter]

JC: And it, you know, Shatner was standing there. He-- they had a room for him right there. And he just got up from a nap, and he was kind of a little, you know. This was like 20 years ago or more. And I went "yeah, yeah, they look pretty good." And I left, and as I was leaving he goes, [impersonating Shatner]"you know, we're very lucky." "Yes, yes y--yes we are Mr. Shatner." He doesn't remember this. I remember this, but he fucking doesn't—

M: Bonded over cold cuts and he doesn't remember it

JC: Cold cuts. He doesn't remember it. Hurts me every time I tell the story. So now cut to backstage, this is classic. Backstage, and I say "You know, well, we're doing our Rat Pack show, Bill, Mr. Shatner. And by the way I do an impersonation of you in the show." And he says, like that, he says [impersonating Shatner] "I do it better."

[laughter]

[END TRANSCRIPT]

Get the album here: https://www.startrekratpack.com/

#jeffrey combs shatner impression #jeffrey combs #galaxycon #william shatner #star trek rat pack #it is Weyounsday my dudes

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justinssportscorner · 3 months

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Emily Stewart at Vox:

The first time I found myself wondering what the deal was with Aaron Rodgers was when his brother Jordan appeared on season 12 of The Bachelorette, which aired back in 2016. The quarterback skipped the all-important family visit, raising some questions, but instead of glossing over it, the show insisted on leaving an open seat at the table where he could have been. Reality TV’s gonna reality TV, I guess. Before that, in my world, Rodgers had simply been my team’s star quarterback, the one who took us to a Super Bowl victory in 2011. I do not claim to be the world’s biggest football knower, but when you grow up in Wisconsin, you sort of have no choice but to love the Green Bay Packers. Sundays in the Badger State are for two things: church and the Pack … and also beer and cheese, so, like, four. (As an aside, the Packers are the NFL’s only publicly owned team, another reason to love them.)

Family dynamics can be hard, I thought at the time, and really it was none of my business. But at the very least it seemed a little sad to think Rodgers was estranged from his family, and I did wonder why. Cut to about eight years later, and the quiet suspicion that maybe Aaron Rodgers is a bit strange has morphed into a very public, very loud conversation, now that we know, well, a whole lot more. Rodgers didn’t get the Covid-19 vaccine and misled people about it by saying he was “immunized.” He’s talked openly about getting into psychedelics and doing whatever a “darkness retreat” is. He’s had a string of relatively short-lived public romantic relationships, which is normal and fine, though his last girlfriend was maybe a witch? He regularly spouts conspiracy theories about Covid and vaccines and UFOs, among other items, and is chummy with Robert F. Kennedy Jr., an anti-vaxxer and presidential candidate. Last year, he challenged Kansas City Chiefs tight end and Taylor Swift’s boyfriend Travis Kelce to a debate about vaccines that was also supposed to include RFK Jr. and Dr. Anthony Fauci. Kelce declined.

Much of this oddball activity and commentary has taken place on The Pat McAfee Show, where Rodgers appears for “Aaron Rodgers Tuesdays.” Disney reportedly paid $85 million for a licensing deal to air the daily sports talk show on ESPN, which it owns. The Pat McAfee Show was the setting of the latest “Aaron Rodgers said what now?” incident, when on January 2 he basically implied that ABC late-night talk show host — and also a high-paid Disney employee — Jimmy Kimmel is a pedophile. It’s been a whole thing, with back-and-forth between Rodgers and Kimmel and ESPN and Disney, for days. Kimmel called Rodgers a “hamster-brained man” and threatened to sue him. An ESPN exec called Rodgers’ comments “dumb.” Rodgers refused to say sorry and responded that the exec’s comments weren’t “helping.” None of it was. [...]

The Jimmy Kimmel dustup is really just the latest in a stream of ??? what is up with this man

So, let’s get back to the Kimmel thing. In early January, Rodgers suggested the comedian had ties to the disgraced financier and late sex offender Jeffrey Epstein. Referring to a since-released set of court filings about Epstein that have been branded the “Epstein list,” Rodgers said, “there’s a lot of people, including Jimmy Kimmel, that are really hoping that doesn’t come out.” There’s previously never been any speculation that Kimmel had ties to Epstein — but he has been trading barbs with Rodgers for a while, focused on the athlete’s anti-vaccination stance. Kimmel was not thrilled at Rodgers’s little Epstein theory. He clarified on Twitter/X he never had any contact with Epstein, said the remarks had put his family in danger, and threatened to sue. Kimmel also did a monologue about the sports star. Rodgers responded on McAfee. He said he was glad Kimmel wasn’t on the Epstein list and isn’t “stupid enough” to actually accuse someone of pedophilia without evidence. Rodgers didn’t apologize, but he did offer up a strange but fairly accurate self-assessment. “I’m not a super political person, okay? Do whatever you want. Conspiracy theorist? That’s fine, because if you look at the track record of conspiracy theorists in the last few years, they’ve been wrong about a lot of things,” he said. And then he complained about the media and cancel culture and said he does not “give a shit” about what people say about him, which … sure. Finally, on Wednesday, January 10, McAfee said that Aaron Rodgers would no longer be appearing on his show for the rest of the NFL season. He said the show was “very lucky” to get a chance to talk to Rodgers and that he’s obviously a “massive piece of the NFL story” and acknowledged “some of his thoughts and opinions … do piss off a lot of people.” McAfee sounded relieved to be away from the drama. “I’m pumped that that is no longer going to be every single Wednesday of my life, which it has been for the last few weeks of my life,” he said.

NFL star QB Aaron Rodgers has been getting into hot water in recent years, and it's because of his off-field activities such as trafficking in COVID conspiracies and anti-vaxxer nonsense. At least some of these were said on The Pat McAfee Show, where he is a regular guest.

#Aaron Rodgers #Pat McAfee #Robert F. Kennedy Jr.#ESPN #The Pat McAfee Show #Anti Vaxxer Extremism #Conspiracy Theories #Green Bay Packers #New York Jets #NFL #Jimmy Kimmel #Jeffrey Epstein #Epstein List #Sports Media

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kylesvariouslistsandstuff · 1 year

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SecretWorks

DISCLAIMER: This post, in case the date doesn't show, predates the release of the RUBY GILLMAN, TEENAGE KRAKEN trailer...

DreamWorks Animation' next movie is in theaters June 30th... Of this year...

The studio, nor distributor Universal Pictures, has officially announced its existence.

Only the resumes of various animators at the studio, European press documents/interviews, and scooper sites have revealed this movie. A picture called RUBY GILLMAN, TEENAGE KRAKEN.

A teaser trailer for the film was given a rating classification recently, indicating that it's going to be released online or rolling in theaters very soon. Maybe tomorrow, even. It's a movie about sea monsters, like the title implies, so maybe it'll be a Sea Monster Sunday tomorrow and we'll get our official first look at the movie.

Originally known as MEET THE GILLMANS, it's about a family of sea monsters living off the coast of Florida, and their efforts to blend in with human society. Many have already noted that the premise is similar to that of LUCA, the summer 2021 Pixar feature directed by Enrico Casarosa... But, similarities shimilarities, they were both in development around the same time, one just happened to get the worm first. It's a weird "tradition" in big-time Western feature animation, and with DreamWorks and Disney/Pixar as well.

The whole ANTZ vs. A BUG'S LIFE fiasco of 1998 was a bone of contention that many online animation fans brought with them into the coming millennium, as they perceived DreamWorks features like SHARK TALE or even something like MEGAMIND to be DreamWorks' cash-ins on the Mouse House's features. SHARK TALE drew unfavorable comparisons to FINDING NEMO - which opened a good year and a few months prior, but their only similarities were them being CGI fish movies with vegetarian sharks. MEGAMIND, some felt, was DreamWorks belatedly knocking off THE INCREDIBLES, even though that whole "DreamWorks are the rip-off artists" thing was kind of dead by then (2010), it too is quite different from Brad Bird's superhero grand slam. There's also the unique case of MADAGASCAR, which debuted nearly a full-year before an enigmatic CGI Disney feature called THE WILD, both of which began at the same setting - Central Park Zoo in New York City - and transported its animal characters to... The wild! In MADAGASCAR's case, the titular peninsula east of the African continent, in THE WILD? Somewhere on the African continent... Where 95% of MADAGASCAR: ESCAPE 2 AFRICA takes place. Some people felt that MADAGASCAR was raced to theaters to beat THE WILD, and make Disney look like the rip-off artists. Others firmly believed THE WILD was a rip-off of MADAGASCAR, but neither ripped off each other.

Hard to believe, but coincidence is more common than you'd expect, and that there is no big conspiracy - or rivalry, where they're keeping on top of each other, with spies and moles to steal and vice-versa. The one time it wasn't, again - ANTZ vs. BUG'S LIFE (which is arguable, if you believe DreamWorks founder and former CEO Jeffrey Katzenberg stating that ANTZ evolved out of an unmade Disney animated feature from 1988 called ARMY ANTS), does not cover the rest of DreamWorks' history. But that one wrong move sometimes gives one a reputation, and the Disney jabs in SHREK certainly didn't help, though Disney themselves had a few films that dished it back. (For example, in HOME ON THE RANGE, one of the cows calls the horse the "Stallion of the Ci-Moron", a reference to DreamWorks' horse adventure SPIRIT: STALLION OF THE CIMARRON). But... All of this is long over.

Remember how, from 2018 to 2019, we saw *three* theatrical animated features about yetis/sasquatches? There was Warner Animation Group's SMALLFOOT, Laika's MISSING LINK, and DreamWorks/Pearl Studios' ABOMINABLE. SMALLFOOT and ABOMINABLE starred yetis, MISSING LINK's main creature was a Sasquatch. SMALLFOOT and ABOMINABLE did respectable business at the box office and got good reviews, MISSING LINK sadly tanked, but did get an Oscar nomination and won Golden Globe for best animated feature of its release year.

SMALLFOOT was announced by Warner Bros. in January 2013 in the lead-up to the early 2014 release of THE LEGO MOVIE, back then it was eyeing a 2016 release. In 2014, it was announced that DreamWorks and Pearl Studios (then known as Oriental DreamWorks) were working on a mystery movie set in the East that was looking to be a 2018 release, and the Laika movie was largely unknown until around 2016/2017-ish, sometime after KUBO AND THE TWO STRINGS was released. They all just happened to come out next to one another... But all three are distinct from one another: SMALLFOOT was a slapstick comedy (with some musical numbers) where the lead human couldn't speak to the yeti, and ended with a "don't be afraid of someone who's different" message. MISSING LINK was an old-school style adventure movie that felt like it was right out of 1959, the main human could speak to the Sasquatch, that was about trying to live up to an elite society and then making due with not being accepted, whether it was human Lionel trying to get in with a league of great explorers, or Susan - the sasquatch - trying to live with the yetis in the Himalayas. ABOMINABLE is very different altogether, it's about a motherless teen girl trying to get a magical yeti home, with various humans who are after it making the journey complicated.

I quite liked SMALLFOOT, I really liked MISSING LINK and identified with Susan, very very autistic-coded character right there. ABOMINABLE I enjoyed enough. Was happy to see all three and decide for myself. I also find it cool that ABOMINABLE is getting a streaming series, so it must've been a success in DreamWorks' eyes. It's weird to think, but it was their first original movie since switching over from 20th Century Fox to Universal Studios following the Comcast buyout in 2016. Fox released two DreamWorks films, THE BOSS BABY and CAPTAIN UNDERPANTS, in 2017... Then the studio took 2018 off, partially due to the cancellation of LARRIKINS, and then returned in 2019 with HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD and ABOMINABLE as their first two Universal-distributed DreamWorks movies... Since then, it has been very few not-sequel movies. Only THE BAD GUYS, really!

2020 gave us a TROLLS sequel and a CROODS sequel, 2021 gave us a SPIRIT: STALLION OF THE CIMARRON spin-off (a movie continuation of the Netflix series SPIRIT: RIDING FREE, a "many years later" spin-off of STALLION OF THE CIMARRON) and a BOSS BABY sequel, and this year a PUSS IN BOOTS continuation. This year gives us TROLLS BAND TOGETHER (a title still yet to be officially revealed), next year KUNG FU PANDA 4... In 2025, maybe SHREK 5? THE BOSS BABY 3? THE CROODS 3? Those are all in the works. Maybe THE BAD GUYS 2 is quietly being fired up.

I hear from the trenches that the studio's game plan is to have one original movie (as in NOT-sequel movie, it could be based on a book or comic or whatever, like THE BAD GUYS was), and one sequel *every calendar year*.

So far, it seems that *is* the case. Last year, THE BAD GUYS and PUSS IN BOOTS: THE LAST WISH. This year, this RUBY GILLMAN and TROLLS BAND TOGETHER. Next year, KUNG FU PANDA 4 and...

Well, I don't know. We don't know. Only people at DreamWorks or Universal know! And a fly on the wall, maybe.

Typically, we know of a big-time animated feature's existence through an official press release at least two years before the picture debuts...

THE BAD GUYS, for example, was announced in spring 2018. That was around the time it was pitched. ABOMINABLE, as mentioned above, was first talked about as a secret made-at-their-Chinese-wing DreamWorks movie in early 2015 or so. This applies to pretty much all the other not-sequel DreamWorks movies made over the last decade. And just about all the films made at the big studios...

But unusually, radio silence on RUBY GILLMAN... A movie that's out in three and a half months! Should the plans hold... I mean, they likely will. Summer's very crowded, and a trailer has been rated, so... Yeah, I think RUBY GILLMAN will retain its June 30, 2023 release date. Universal and DreamWorks is literally going to marathon run its marketing campaign, then!

Some are suggesting that the perceived similarities to LUCA are why DreamWorks is being quiet about it, but... Here's the thing...

RUBY GILLMAN seems to be the first DreamWorks movie to have been greenlit under Margie Cohn, who is currently running the studio as President. She has been in charge of the feature division since early 2019... She had been head of DreamWorks' TV animation division until then, now she runs both. RUBY GILLMAN seems to be a Cohn greenlight, whereas THE BAD GUYS was greenlit when Chris DeFaria was the head. Outside of the sequels, none of DeFaria's greenlights seem to have made it. SPOOKY JACK, a collaboration with Blumhouse, was put on ice. Other projects announced during his tenure, such as an adaptation of THE WIZARDS OF ONCE (a book series by HOW TO TRAIN YOUR DRAGON author Cressida Cowell) and two projects from director Leo Matsuda - an adaptation of SPUTNIK'S GUIDE TO LIFE ON EARTH, and original story YOKAI SAMBA - also didn't make it. If I remember correctly, Matsuda took the latter - his own idea - to Nickelodeon? Not sure what's going on with that...

The only feasible movies I can see coming out after RUBY GILLMAN are two adaptations, both of which are Cohn greenlights. One of which is of Thomas Lennon's Irish fantasy tale RONAN BOYLE AND THE BRIDGE OF RIDDLES, the other is an adaptation of CAPTAIN UNDERPANTS creator Dav Pilkey's DOG MAN. The DOG MAN movie doesn't have a director, not that we know of, but RONAN BOYLE? We know that has Fergall Reilly (THE ANGRY BIRDS MOVIE) attached as director. Or was, if he isn't on it anymore.

But we at least know that both of those movies exist, that they were greenlit... GILLMAN was literally first seen on resumes, and on some site I had never heard of before. Other than that? It's like it doesn't even exist!

I was thinking when THE LAST WISH came out, what with that all-new legacy logo with several DreamWorks characters, that we'd get an official announcement regarding the sea monster movie. And maybe one more movie that's in the works. But DreamWorks has only said a third TROLLS was coming and gave a release date, and they did the same with KUNG FU PANDA 4. Nothing else... No director, no synopsis, nonesuch!

But hey, I appreciate if the intention is to be super-cryptic. DreamWorks doesn't overspend on animated movies anymore. THE LAST WISH totaled up to $90 million, and managed to have record-breaking legs to get to where it is at the box office. THE BAD GUYS, similarly, cost somewhere between $65-80m, THE CROODS sequel was astoundingly a $65m movie that looked as good and well-made as its $135m-costing predecessor! RUBY GILLMAN, I reckon, cost around that much to make, and they're not sweatin'. I'm a bit concerned because it opens in a summer battlefield that includes... THE LITTLE MERMAID, SPIDER-MAN: ACROSS THE SPIDER-VERSE, THE FLASH, Pixar's ELEMENTAL, the fifth INDIANA JONES movie, and BARBIE. All titles vying for blockbuster and four-quadrant attention, and families don't have all the money in the world to go see these movies. Stats and working at a movie theater are my back-up for this claim, not gonna brag-

Anyway, I also feel the radio silence could be due to Universal focusing heavily on THE LAST WISH, as we're coming up on Oscar Sunday... and also... Well, a little indie movie called... THE SUPER MARIO BROS. MOVIE! That's out in less than a month. Maybe they just don't want any overlap in marketing campaigns? One movie at a time?

Not that a movie can't have a marketing campaign so close to release that quickly gets the job done. I'm immediately reminded of the film 10 CLOVERFIELD LANE, which no one knew existed until distributor Paramount unexpectedly said so... Not even two months before the release of the movie!

10 CLOVERFIELD LANE, however, was a semi-sequel to CLOVERFIELD, which had done pretty well at the box office and had a dedicated fan following. Still, I think it's a good example. DreamWorks and Universal could probably easily get families and others excited about a teenage sea monster movie in less than four months. THE BAD GUYS' first trailer debuted four months before release, and that movie did just fine at the tail end of Omicron's rise. RUBY GILLMAN should be fine in that regard, granted, if it didn't cost an exorbitant amount of money to make.

Maybe it's an even lower budget movie than what they usually make. Maybe it was outsourced, even, like CAPTAIN UNDERPANTS was. Maybe it's a microbudget picture with a really fun art style. The concept art suggests something pretty cartoony-looking. DreamWorks has lately been eschewing ornate detail. THE BAD GUYS looked like a fun three-dimensional mesh of European comics and anime drenched in L.A. smog, PUSS IN BOOTS: THE LAST WISH is literally a living storybook illustration much in the same way SPIDER-MAN: INTO THE SPIDER-VERSE was a living comic panel. I hear-tell that TROLLS BAND TOGETHER will go even more stylized than its already groovy-looking predecessors. KUNG FU PANDA 4 could even be a visual reinvention of the series, KUNG FU PANDA 3 had multiple scenes where they really pushed the colors and lighting to give the movie more of a 2D, kind of painterly feel. It's quite cool how less millions of dollars allows for the filmmakers to be more creative with their visual presentations... Even a behemoth Pixar, long known for making hyper-realistic tech-flexing CG films, is sliding towards that, what with SOUL's ethereal planes and shifting visual styles, LUCA's character design was very European comic-like, TURNING RED pushed that kind of cartoony stylization even further on the characters, sets, and art direction. Only LIGHTYEAR looked back to Pixar's hyper-detailed pictures of yore - looking like it could've been released in 2015. That's fine, though, it just illustrates the visual variety in the studio's recent output: One 2010s-styled movie with a bunch of looser and cartoonier ones around it... and look at the few things we've seen of ELEMENTAL. There's like a 2D energy to Ember's movements, it's all so cool! ELIO seems to look like a visually fun movie, too. Disney Animation is finally getting in on it too, after suggesting such potential with the 2012 short film PAPERMAN and its 2014 follow-up FEAST. Their WISH looks to be a 2.5D picture as well. Ahhhh this is such a cool time to be following the big American animated movies coming out. You got all of this, in addition to Sony continuing to push boundaries, Paramount going all-stylized with MUTANT MAYHEM, *wow*! SPIDER-VERSE's success reverberated through the industry, didn't it?

Anyways, it'd be cool to hear what such a cool studio is up to right now. I don't know, it's just kind of weird that we don't have any word on what they have cooking, a movie that's actually out in a few months... And we know the existence of the few movies coming out after it.

But maybe the secretiveness is the point... Keep us guessing.

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stigmvtas · 6 months

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MARIBEL SAWYER — ABRIDGED.

welcome to marina, MARIBEL SAWYER ( demi woman, she/they ) ! they are a TWENTY SIX year old who has lived on the island for TEN YEARS. word on the street is they’re currently living in TOWER HILL and works as an INVESTIGATIVE JOURNALIST / UNLICENSED PRIVATE INVESTIGATOR. everyone also says they look a lot like ELLA PURNELL. what do you think? — JAMES, 24, THEY/THEM, EST.

MENTIONS OF EATING DISORDERS AND DISAPPEARANCE.

profile.

full name: maribel ottoline sawyer.

birthday: june 1st, 1997.

astrology: gemini sun, aries moon, gemini ascending.

sexuality: bisexual.

currently listening to: the last time i did acid i went insane by jeffrey lewis.

last known location: [[[cannot be found]]]

PINTEREST.

brief history.

another middle child! what a surprise <3 smack dab in the middle of two other siblings and born to an air force father and what can only be described as an almond mom who's got an entire line of diet cookbooks and a keto-lifestyle cooking vlog on youtube.

very typical all-american, strict family life. curfew at 9pm, family dinner every sunday, chores before anything else. no sick days, no excuses, no bad grades.

painfully average in a family full of success; older sister an early broadway star, younger brother not only poet but football prodigy - maribel nothing, nothing but average. nothing but too curious.

develops a knack for mysteries and a compulsive need to solve them at a young age - something to pass time, and something that makes her feel like she's got a purpose, somewhere. a miniature nancy drew, the only reputation she holds.

they move around the states often, never in one place for too long; maribel always the too quiet girl in the back of the classroom while her siblings garnered attention.

eating disorder; maribel's mother obsession with clean eating, and being an ingredient-only household, as well as projecting her self - image onto all of her children resulted in a years long eating disorder that's mari still combats to this day - but she's doing a little better.

the family moves to nevada during mari's early high school years, her sister's in new york and her brother's still in middle school - so it's just mari at a strange new school in the middle of the desert. makes one of her only friends there, one who thinks her obsession with conspiracies isn't weird. who believes in aliens like her, who understands her.

disappearance; tldr, mari and her best friend break into area 51 to see the aliens and they get caught. obviously. lucky they weren't shot on sight. maribel gets her father almost fired, and her friend disappears. she never sees them again.

after that, the family moves to marina. mari's sixteen, and she retires the magnifying glass and her itching curiosity for the next few years. she's mostly afraid - of both her family, and of the consequences of her actions.

by the time she's eighteen, her family all but kicks her out of the house - one of those rules. she's an adult now - so act like one. then they move away - and mari's alone. she enrolls in university, and works three different jobs just to afford her tuition - but she gets through it. she has to, even if she's weak. even if she's afraid.

recently started doing her. investigation stuff again with a license that's definitely forged due to one of her other, few talents: forgery. but hey! if it gets the job done<3

facts & temperaments.

has worked so many jobs and still has a new one every other week. receptionist, waitress, phone sex operator despite being so virginal it's not even funny. has probably worked at several different restaurants after dropping entire trays of plates and getting fired because it's the fifth time it's happened in a two hour shift.

because even doing her minor investigative work that revolves around suspicious housewives and trailing dodgy teenagers will not pay her student loans or rent.

used to sell fake ids in high school because once again, she's a bit of a forgery mastermind; but stopped after she graduated. never got caught, though! also a little bit of a hacker, would change grades in the school's system for the "popular" girls in her grade to earn their approval. never really worked in her favor, but hey - they passed their classes!

would've done computer science but even though she's moved out of her family's home and they've moved away - her mom still berated her for going into a "man's" field. so maribel took up journalism as a bit of a fuck you. worked out great, obviously.

lies about her childhood often because she was a bit of a. friendless nerd and also embarrassed her dad and like, disgraced her family. and she would hate for people to know that! a bit of a compulsive liar because of it.

has an advice column in the newspaper under a fake alias as well, because maribel is Leading a Life. one where she just creates mess after mess.

is the most awkward person to walk the planet. constantly stumbling over her words or backtracking, rambling on; just has a general nervous demeanor. has constant trembles. like if you touch her, she's just. vibrating with nerves. extremely shy, and takes a while to warm up to strangers.

desperately wants to be liked. like socially. like on a fundamental level. tries to fit her personality to whoever she's talking to. she's really nice! and tries not to be like genuinely fake, just doesn't know how to be herself, or what herself is actually like.

a yes girl. rarely says no to anyone, even if it's a ridiculous request. a pushover, a doormat, someone easily walked over. surprisingly hard to fully manipulate, because maribel has the intuition of an investigator. will entertain it for a short while before realizing she's being played like a fiddle.

so fucking clumsy that it's a marvel that she's like. a genuinely decent investigator. can somehow manage to pull herself together for cases, but when she's off the clock? an entire mess. observant, even when she doesn't want to be. she can't turn that part of her off.

hair's always tied up in a ponytail. no exceptions. it's who she is. it's her personality. only takes it out when she's drunk. which isn't often but it happens sometimes! switches personalities like day and night when she is tipsy; becomes a complete flirt, an almost unrecognizable version of herself with confidence she'd never have otherwise.

#marina:intro #––– ❛ maribel sawyer 【 pretend i'm happy just to be alive / about. 】#eating disorder tw #disappearance tw

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