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#my first time reading the EC I was so happy because of the development for Andrew yet the fandom don’t fucking understand that and
crazy-fangirl2524 · 3 years
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One thing that never sits right with me is the fandom hating on the EC and Nora because they say Nora said that Andrew never heal and I don’t actually feel that?!
I don’t know what extra content did you guys read but from what I read I felt that Andrew did healed?! Yes Nora said Andrew never smile or laugh, but smiling and laughing doesnt mean recovery. Nora said “Andrew learn to let/trust things in his life whether it is the cats or Neil or exy” and isn’t that the most beautiful form of recovery already?
And the happiest moment in Andrew’s life is when he received Cass’s letter and he read it and threw it away and that was a turning point in his life. Does this not screams recovery to you?
Yes Andrew will never be “normal” or “as normal as Neil and the other foxes” but isn’t that the entire point of his character? Andrew is the most developed character in the three books and yet you guys go and said that “omfg Andrew never recovered! I hate Nora for saying that!” If you feel that way then you don’t understand the books or Andrew’s character.
Because he did heal, he learned to keep in touch with Aaron and Nicky, he stayed friends with Kevin and the foxes, he is actively going to therapy, he learns to trust Neil, the cats, and even enjoy exy. He will never express joy the way “normal people do” but that is okay because he does experience joy and feel that everyday with the cats, Neil, his family and the foxes and that is more then enough and for me Andrew did recover and have the best life he has.
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thedeaditeslayer · 3 years
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Greg Nicotero Talks ‘Creepshow’ Season Two, His ‘Evil Dead’ Love Letter And Exploring More Iconic Horror IPs.
This interview with Greg Nictorero covers the season premiere episode that is a homage to Evil Dead. Recommended reading below!
The first season of Creepshow was a monster hit for AMC’s horror streamer, Shudder.
Becoming the most-watched program in the platform’s history, it smashed several records in terms of viewership, total minutes streamed, and new subscriber sign-ups. The show’s second season is about to drop, and a third has already been confirmed.
I caught up with horror legend and Creepshow’s showrunner, Greg Nicotero, to discuss the show’s killer formula for success, paying tribute to iconic multimillion-dollar franchises and what stands in the way of a new Creepshow movie.
Simon Thompson: How does making season two compare to your experience on the first season?
Greg Nicotero: Well, we got the green light to do Creepshow while I was shooting The Walking Dead, so we had to develop the stories, get the scripts written, prep in six weeks, so the entirety of season one was done between January and April. It was fast and furious. I’ve been in The Walking Dead world for ten years, so I was like, ‘How hard can it be? You build a bunch of sets, get some cameras, you get a bunch of great actors and a good script, and you shoot it.’ Man, I had no idea what I was letting myself in for. You’re creating an entirely new universe, all new sets, all new cast and crew every three and a half days. I felt like it was grabbing the horns of a bucking bull and just holding on for dear life. We made it through by sheer will. I had to deliver something that stayed true to the spirit of George A. Romero and Creepshow. If I screwed it up, I wasn’t going to get another chance. So, I don’t know if I had any fun on season one.
Thompson: Season one of Creepshow was a massive success for Shudder in so many ways, from viewership to subscriptions as well as critically. Did you soak that in?
Nicotero: I didn’t read many reviews because I didn’t want my heart to be broken. I’m a sensitive guy. I would probably find the one sh***y one and just be devastated. However, one thing that people saw across the board was that I had a passion for the material and put my heart into it. That gave me a lot of confidence to go into season two, stand up straight, grab those horns and control the show and fight for the stories I wanted to tell. I also wanted to have fun with it. I feel like season two has got that heart and passion, but it’s fun and pays tribute to everything important to me and my upbringing, from building monster models and watching TV horror hosts to the loving nod to Sam Raimi. These stories all meant something to me. I feel like I’ve matured 100 years between season one and season two.
Thompson: That’s the Public Television of the Dead story in the first episode of season two. It blew my mind a little bit.
Nicotero: That makes me so happy to hear that. I worked so closely with Sam on Evil Dead II and Army of Darkness. When I read the script, I loved that it was a nod, but it became something else when we got into making it. There’s a  bit where Ted Raimi starts to float on the Appraisers Road Trip set; I put that in, and the camera work with the evil force going down the hallway; they weren’t in the script. I was like, ‘If I’m going to do this, I’m going to go all the f***ing way.’ I even adjusted some of the dialogue, like when Ted Raimi talks about the book being in his family for years and gathering dust in the fruit cellar. Any opportunity I had to buy into the fact that maybe the Necronomicon is a real thing and that Sam and his brothers went off and made this movie with his book, I took it.  Sam was shooting the Dr. Strange movie, but I reached out to him right before shooting it. Without a doubt, it’s probably the most respectful send-up of the Evil Dead universe. Every one of the actors was like, ‘F**k, man, I love Evil Dead II. This is so much fun.’ It was always intended to be a love letter to Sam and Evil Dead. Creepshow is all about paying tribute, little love letters, to the likes of EC Comics, Stephen King, George A. Romero, and so many other things. We got to change the Necronomicon just a little bit. We still wanted it to feel like the original, but we also don’t want anyone to feel like we’d infringed copyright. Even the appraiser’s name, Goodman Tapert, is a tribute. David M. Goodman was the transportation coordinator on Evil Dead, and Rob Tapert was the producer. If only I could have got Bruce Campbell down there, steal him out of retirement, to do something on Creepshow, that would have been awesome.
Thompson: You got a great cast together for the first season, and you have raised the bar.
Nicotero: I feel fortunate that we were able to get the caliber of talent we did. Kevin Dillon, Justin Long, D’Arcy Carden, C. Thomas Howell, Ali Larter, the list of great people who jumped on board for season two goes on. Every one of them did a great job. They all showed up, were prepared, and knew their lines, and they were excited to be back to work. It’s always funny when you bring actors into your world. They show up, work for three days, and leave. And I remember in season one, I went through my phone, and I convinced Adrienne Barbeau and Giancarlo Esposito to do it because they all knew me, and I had worked with them on different projects. When they walked onto the set, they saw how fast we were moving and how immersive it was, and they had a really good time. Many actors find a tremendous amount of freedom in immersing themselves in a role that will take up their life for just three or four days.
Thompson: Going back to you paying homage to Evil Dead in an episode this season, would you like to do that with more iconic horror IPs or pick up on previous Creepshow stories?
Nicotero: The freedom is the greatest part about it. We talked about potentially revisiting stories from the first Creepshow movie, but that is convoluted in terms of the rights. You can’t clear it. There are stories that I guarantee you, especially after you see season two and season three, that we would love to revisit and pay tribute to those genres that we love. If I had a way to intertwine a Jason Voorhees story, a Michael Myers story, or a Freddy Krueger story without having the people that own the rights to those franchises jumping up and down and screaming, I would do it in a minute. For me, it’s really fun to be able to take a story and look at it from a different vantage point like we did with Evil Dead. So often now, the world is about taking material you think you know everything about and giving it to you from a different perspective. I think Wicked was probably the first piece of material that did that. It took The Wizard of Oz, a story that everybody knows and loves, and looked at it from the witch’s perspective. I read the screenplay before there was a show because I think the writers wanted it to be a movie first. I remember reading it and thinking, ‘Oh my God, it changes how we do look at everything related to The Wizard of Oz.’ The idea that we can take the horror genre and tell it from a perspective that gives us a completely new take is exciting and allows people to pay tribute to the original material and put a new spin on it. It gives fans something exciting that they can’t get from the original material.
Thompson: It was great to hear that there will be a third season but what’s the latest on a potential new Creepshow feature film?
Nicotero: I would love that. We’ve talked about it. When you do a show like this, you do it for the amount of money that we do it for, it becomes successful, and people want more, to get someone to turn around and give you more money to do a movie, they’re like, ‘Why would we do that when we’ve got a great show right here?’ I would love to do a Creepshow movie and expand the world with bigger stories and a little bit more money. I’m sure that down the road, that will become a reality, but right now, part of the beauty of Creepshow is that it gives you these bite-sized meals, these little appetizers. With today’s short attention span, you can watch 20 minutes and then go back later and watch another 20 minutes. I think that is very much in tune with how today’s society devours content. The beauty of Creepshow is that every story is so different, and every theme is so different that you’re getting an entirely new experience with each story.
The second season of Creepshow lands on Shudder on Thursday, April 1, 2021.
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365daysofsasuhina · 4 years
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[ 365 Days of SasuHina || Day Two Hundred Eighty-Four: Apple Pie ] [ Uchiha Sasuke, Hyūga Hinata ] [ SasuHina ] [ Verse: Best Years of Your Life ] [ AO3 Link ]
Though he never would have thought as much when he was first shoehorned into this class, Sasuke has to admit...Home Ec has grown on him. While he’s still a good student and honestly enjoys most of his classes at least somewhat, there’s just something really...nice about that class in particular. Sure, it’s not just baking cookies everyday, but it’s become a nice change of pace compared to everything else.
He tells himself it’s because the class is just so...different. He’s actually learning some handy skills, even if most guys wouldn’t bother. He’s handier in the kitchen than ever, knows several ways to sew by hand (and how to use a machine), and they’ve even broached into things like human development. Never did he think he’d know so much about babies...but, well, you never know. Maybe he’ll have to...deal with one someday.
But if he’s honest with himself - truly honest - there’s another very big factor to why he’s come to enjoy the class as much as he does.
Strolling into his last block of the day, Sasuke finds himself to be a little early, and almost alone. There’s an away basketball game, and several of the girls typically present are absent, either as part of the team, or the cheer squad. Along the whiteboard, he reads the daily instructions. Apparently, given the low class percentage, they’re just having a free day.
Before he can stop himself, Sasuke perks up...because he knows exactly what that’s going to mean.
“Hi, everyone!”
Turning, he gives a lax wave to the only other senior in the class: Hinata Hyūga. “Hey. Seems we’ve got a free day with the game today.”
“Oh?” Like him, she seems to brighten at the notion. “That’s great! I’ve had a recipe I’ve been wanting to try with you!”
“Yeah?” Sasuke does his best to temper his reaction, despite the warmth the notion brings him. “Something we can finish in class?”
“Well...it might go a little over...is that okay?”
“Yeah, I’ve got nothing to do. A few teachers lightened up because of the game, so I’ve got hardly any homework.”
“Me too! O-okay, we’ll do it then!” Digging into her binder, she pulls out a recipe with a grin. “Apple pie!”
Sasuke blinks, looking the paper over. “...is it very sweet?”
“Well, sort of...but the apples are a bit sour, so that sort of...balances it out?”
“...okay.” He won’t admit it, but he’s not quite so put off by sweets anymore. Not since meeting Hinata.
The pair move to the kitchen wall, first gathering their ingredients and a pie plate. “So I actually use a different pie crust recipe...it’s just a few ingredients you mix and press in the plate, and bake with the rest of the pie! It’s so much easier than rolling stuff out,” Hinata offers, flipping the page over and showing the separate crust instructions. “You want to do that, first?”
“Uh, sure.”
“Great! I’ll start peeling and cutting the apples!”
Having not actually made a pie yet, Sasuke follows the recipe carefully, wary of messing something up. But true to Hinata’s word, it’s actually pretty simple. Mixing up the handful of ingredients, he smoothes it along the bottom before announcing, “Okay, now what?”
“Here, mix up the spices and sugar for the apples - I’m almost done!”
He does as asked, not bothering to quip or question. By now, the pair have done enough baking together to just know how to go about it. Hinata leads, and Sasuke follows. In all reality, he’s probably gotten enough practice to lead himself, but...well, he hasn’t given that a try just yet.
Hinata pours his mix over the sliced apples, coating them well and putting them in the pie plate atop the crust. “All right, I think we’ll do the Dutch style topping.”
“...what’s that mean?”
“It’s a crumbly sort of top, rather than a solid sheet of crust!” She shows him how, pulsing the ingredients in a food processor until they form, well...crumbles! “Now we just spread this over the top...and there we have a pie! It has to bake for about fifty minutes, so...we’ll run over class by a little bit. But I don’t think the teacher minds.”
With the oven already hot, it’s Sasuke who puts it in, setting the timer. They tidy up, and then...it’s time to wait.
As per usual, they pass the time on their phones, the instructor hardly caring on such a relaxed day. Hinata plays a mobile game, Sasuke browsing a forum he frequents.
But eventually they get bored.
“So...what’s your favorite kind of pie?”
“I honestly don’t eat much of it. Too sweet most of the time.”
Hinata makes a face. “I still don’t understand that…”
“Well what about you?”
“I’d say...lemon meringue.”
“Lemon?”
“Mhm!”
“What’s...meringue?”
“It’s egg whites and sugar, beaten together until it’s light and fluffy! You bake it, and the tops turn a light brown...it’s so good. Maybe we’ll try one next time! It’s actually pretty simple.”
“I could maybe do lemon if it isn’t too sweetened.”
The bell eventually rings, and the pair linger, their teacher more than used to them staying past the bell. It’s not too long before the timer dings, and Sasuke retrieves the pie. It actually smells...really good! Cinnamon and nutmeg just might make it tolerable.
“Want some ice cream?”
“Is...pie really not enough?”
“Apple pie and vanilla ice cream are like...a match made in heaven!”
“I’ll pass.”
“How about caramel sauce?”
Sasuke blinks owlishly. “...I think it’ll be sweet enough.”
Hinata dishes some up, indulging in a little bit of some ice cream left over from the day they all made a batch by hand. And then she seems to hover in wait, eager as always to see his reaction.
Sasuke takes a bite of his own, chewing thoughtfully. “...I like it.”
“Yay!”
“It’s not so sweet.”
“I went a little light on the sugar for you.” Hinata then digs into hers, humming happily.
“...you know...I’m gonna be really sad when this class is over.”
That makes her pause. “...are you...switching next semester?”
“Dunno yet. But I only needed the half a credit.”
“Oh...well, I was going to stay. There aren’t really any classes I need in this block next semester.” She gives a halfhearted smile. “It’ll be sort of l-lonely without you.”
“Yeah...I’ll have to see what the guidance counselor says. My dad’s riding me pretty hard about pumping up my grades for applications.”
“Well, that makes sense. It’s important. I’m still not sure what I’m doing next year, so...I’ll admit I took a bit of an easier road than I could have.”
“It’s different for everybody. Gotta do what makes you happy, too.”
“Yeah…”
The pair sink into a slightly awkward silence. In truth, he’d be more than happy to stay. And surely his mother would support it. His father, on the other hand…
“Well, if you do switch, I’m still glad you were in here,” Hinata then offers, smiling a bit more warmly. “It’s been a lot of f-fun teaching you stuff!”
“Yeah? It’s been nice learning it. Maybe we can still make some stuff after school sometimes, when we’re not too bogged down.”
“I...I’d like that!”
“Then consider it a plan.”
The atmosphere then lightens until he gives the clock a glance. “But, speaking of...it’s getting kinda late. Think we should go?”
“Probably...want to take some pie home?”
“Sure.”
They each take a few slices, Sasuke sure his mother would like some. If only Itachi were home, but...well, that won’t be until Winter break. The pair part ways in the hallway, Sasuke going to pack up his stuff for the evening. The thought returns as to what to do come the end of the semester.
He really does want to stay...and surely half a credit won’t make that big of a difference, right? Maybe he’ll talk to Mikoto about it...sighing and picking up his bag, he leaves the school behind, apple pie carefully nestled in his backpack.
                                                       .oOo.
     (This is a sequel to days 98, 108, 139, and 227!)      I have...fallen another day behind OTL Yesterday was just exhausting, in more ways than one, so...I took the night off. I'm sorry ;n; I probably won't have time to catch up until at least the end of October since I have another challenge going on, but! Hopefully by the end of the year I'll be done on the last day, aha~      Anyway! More of our cute lil Home Ec AU. I really do love this one, it's just so stinkin' sweet. But it seems we have a little bit of a plot conflict...Sasuke might be leaving the class? Say it ain't so! We'll have to see what his decision is come the end of the semester, but...at least he and Hinata will keep on keepin' on no matter what!      But with that, I really need to get to bed, lol - thanks for reading!
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Medigreen CBD Gummies Reviews – (2021 UPDATED) CBD For Joint Pain, Shark Tank
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occupyvenus · 7 years
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I don’t buy it - Jon isn’t “a northern fool”
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!! SPOILERS FOR LEAKED EP 6 AHEAD !!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I just don’t buy it. I still believe that Jon is playing Danielle (btw we are using this name so it won’t show up in the search, not as an insult), going “undercover” as he did with the wildlings, to ensure she helps against the white walkers. Want to know why? Keep reading, but I warn you this got ... very, very, very long. 
This turned, more or less, into an analysis of the entire Jon x Danielle interaction over season 7 somehow, even though it wasn’t really supposed to be that. Just to be clear about this: If you are a hardcore j0nerys shipper who doesn’t like people having different opinions.... you better stop reading right now. All nasty comments will be deleted without exception. If you see things differently and are open for a civil conversation, well don’t let me stop you. I’m not trying to “hate” on somebody else’s ship here, but as a fan of the series I can analyze and interpret the things happening. J0nery is one of the things happening right now.
They way I see it, there are three key issues to their relationships that can be seen both as motivation for them working and being together, and as distinct sources of conflict. Both internally for each character and in their interpersonal relationship. 1. the personal aspect | their personal feelings for each other, generally and specifically romantic 2. the political aspect | Jon’s duty to stand for an independent North vs Danielle's desire to rule over all Seven Kingdoms 3. the ... “end of the world” aspect | the looming threat that will end them all
At the beginning of ep3 Jon and Danielle were opposed on everyone of those issues: They didn’t know or particularly like each other, they both are relentless about their political decision, Danielle doesn’t believe him about the WW’s and/or is only ready to help under certain conditions.
At the end of ep6 these three issues seem to perfectly align, all conflict seems to be resolved: They are clearly, if not in direct words, admitting their love for each other, Jon has given up his claim on the Northern Crown, Danielle has decided to destroy the night king and his army.
This could be the natural progression of the story. My question is whether this resolution, despite being rushed, was properly portrayed, developed and flashed out over those 3 episodes. Whether the last interaction between Jon and Danielle was earned, whether Douchebag&Dumbass (they earned those nicknames by butchering Arya’s and Jaime’s character, btw) used their limited screen time to build up to this moment. After all, the (supposed) J0nerys romance is clearly meant to be the “emotional climax” of this season.
Now when you look at all their interactions over the season you notice that something is missing. Something very important when developing an intimate personal relationship such as a romance. There is no real human bonding moment for them. Though I supposed that’s not completely true. Danielle does share a few personal issues with Jon, but we never hear Jon talk about anything personal and/or private with her. 
This starts in their first interaction when Danielle talks about her hardships, while Jon keeps shut about his and when she later talks about their dead brothers and Jon doesn’t really respond to the topic. This pattern persists when she asks for his advice on the beach, clearly indicating that she came to value and respect his opinion, while he is resisting to give her a clear answer, responding only with a vague statement praising her previous achievements and alluding to her potential. He doesn’t just outright says what he thinks, as he has f  If he was sure about Danielle having a “good heart” and trusts her, wouldn’t he feel free to just speak his mind? But it seems he’s afraid of saying the wrong thing, worried about alienating or offending her. Which makes sense, he is in a very vulnerable position right now, basically her prisoner, and needs her to be on his side. Pissing her off is the last things he would need. 
The interesting thing about the cave scene is that while it is shot as the most “romantic” scene for those two characters - the location, the lighting, the dramatic music score, EC’s line reading - they don’t really talk about anything personal in it. Not really. Their shared appreciation of the locations historical significance makes for a bit of a human connection, I guess, Danielle is definitely guilty of some heart-eyes, Jon puts on a more sympathetic face as well, but despite what EC’s voice is trying to tell you: The topic of this conversation is neither personal nor romantic. It ends with their thus far unresolved conflict: To kneel or not to kneel, that is the question. 
The dragon petting session was definitely a moving moment for Danielle and finally Jon being a secret targ means ... something. But Jon makes it pretty clear that his targ-blood doesn’t immediately make him regard dragons as cute pets. When his statement about them offends Danielle, he corrects himself and calls them “gorgeous beasts”. Again, she is sharing something personal and important - her connection to her dragons - but Jon doesn’t respond with an equally meaningful story. It’s obvious that he doesn’t approve of her actions - wait until he finds out about the Tarlys - so their one-on-one conversation ends on a conflicted note. I’m pretty sure that Jorah views heartthrob Jon Snow as a potential love rival (what man wouldn’t?), but I don’t think that Jon looks jealous at all. Mostly confused about the weird, old, know slaver that just showed up.
When Bran’s letter arrives, Danielle is trying to strike a more personal tone by telling Jon she’s happy for him, but Jon is going straight back into politics and EotW territory. This would have been a perfect opportunity for Jon to show his “human” side a little bit more. Forgetting about everything else for a minute, sharing ... something, just something about his long lost siblings with the supposed love of his life. But nothing, straight back to White Walker talk. Danielle is obviously worried about Jon going on this stupid ass mission, I have no doubt in my mind that she is head over heels for him at this point. But Jon? He calls her a stranger. He asserts his position as king (Y’all are disappointing Tywin this season) and makes it clear that she can’t force him to stay on this island. Danielle is obviously in too deep to care about it anymore. (It’s a shame Dickon never had a chance to seduce her... ). 
Last, but not least their farewell scene  She states that she has grown fond of him, while Jon is keeping the conversation proper and formal. While Danielle is longingly looking after him, Jon doesn’t turn around. This fact is even more emphasized by Jorah’s presence who does take a last long look at the woman he loves, whom he might never see again. Why not have Jon do the same? Why not have Jorah turning around only to see them two exchange a long meaningful look, causing some love-triangle tension? Don’t tell me that Douchebag & Dumbass would be “above” this. 
Compare it to Jon meeting Gendry. They talk about their fathers (why Gendry has come to care so much for his sperm donor is anybody’s guess, btw), joke a bit and connect. Jorah and Jon have a similar conversation about their fathers in ep6. We have an interaction like this for most, if not all characters who are forced to or decide to work together. We see this with Tyrion & Jorah, Sansa & Bran, Bronn & Jaime, Tormund & the Hound, Brienne & Arya etc etc. Because in order for us to care about the bond two people share, we need to see that bond being formed. We need characters to tell each other about their feelings, experiences, opinions, families, traumas, etc. for us to get emotionally involved with their relationship. We simply have no interaction between them where they connect as human beings. Especially Jon never brings up any private issues. We never see them actually getting know each other as people. Which is so so odd. If their love story and relationship was this important to the overall story, wouldn’t they want to make sure we get emotionally involved in it? 
They could have easily written in Jon telling Danielle about his “father”. This is a difficult topic for them, considering the rebellion and stuff, but he brings up good old Ned to almost every single person he talks to. Jon has some serious daddy-issues and it would make sense for him to defend his father to Danielle. To make her see that he wasn’t the kind of man who sends assassin after newborn children. But not once do we see him go “I can’t speak to Robert and you might not want to hear this, but my father was the most honorable dudebro in all the seven kingdoms, blah blah.” Btw, why did Varys never tell her that Ned quit his job because he didn’t agree with Robert? He could have chimed in, overhearing them “by accident” and tell that story. Them having a conversation about Danielle’s father, the rebellion, this conflict and tension between their houses would have given real depth to their relationship. I would even consider them sorting out these issues a key requirement for them to even have a healthy, mutually loving relationship. Why were they never brought up? Why do we never see Jon talk about anything that matters to him as a person, other than the threat beyond the Wall and his duties as king? 
What I’m trying to say is that their personal interactions are biased toward Danielle. She has made obvious heart eyes, talked about personal issues and showed that she gained trust in Jon. I’m not saying that Jon isn’t attracted to her or dislikes her completely. But, at least everyone should be able to admit that up until their goodbye in episode 5  Danielle looks a lot, like a hella lot, more love-struck than Jon. Even if one could argue that Jon has his moments where he shoots her a tender look, the disparity is pretty apparent.
But then in ep6 immediately after Jon wakes up on Danielle’s ship (btw, at least Jon didn’t decide to ditch WF for KL by his own choice. Of course Douchebag&Dumbass had to put him straight on a boat, because as so many people - me included - pointed out: It makes no sense for him to want to go. He should have want to go to WF by all means, home to his family and his people, preparing them for the threat that is getting really fucking close), he basically hands her everything she wants on a silver platter, without any coaxing from Danielle whatsoever.
Don’t you think that’s at least a very drastic, sudden shift in his behaviour? Even if we assume that he has changed his mind about Northern Independence eg he’s willing to kneel in exchange of her help, even if we assume that he has developed serious feelings for her, why would he be the one to bring this up? Why would he be so direct about it all of a sudden? Why not wait until Danielle mentions the whole kneeling issue, hoping that maybe she’s ready to put the political struggle aside now that she’s seen the enemy with her own two eyes - as was Jon’s original plan - but still being ready to give in should she press on about it? I wouldn’t begrudge Jon for doing so, but just giving up the north by his own choosing, proclaiming her “his queen” -ugh- stands in direct contrast to his convictions so far.
What has changed? Seriously, what happened between the end of e5 and the end of ep6 that could have made Jon do a literal 180 on this topic? . Let’s look at the conversations Jon has with his suicide squad companions, shall we?
Jon talks to Tormund in Eastwatch | It’s interesting that Jon doesn’t try to distinguish between Cersei and Danielle in any way. When Tormund asks which queen he has to convince, he simply says “both”. Though I was under the impression that Danielle already believed him - maybe still a bit unaware about the true extent of the issue - and this was first and foremost to get Cersei on board. He could have said “Danielle won’t risk sending her armies north until Cersei is convinced” or something like that. If he was already in love with her and believes her to be “his queen” -ugh- wouldn’t he come to her defense? Wouldn’t he try to put the “blame” for this stupid, stupid, stupid idea firmly on Cersei?
Jon talks to the Brotherhood without Banners in their Cells | The one thing to notice here is that Jon makes it clear that nothing else matters anymore, everyone who still breathes is on the same side. We have to work with people we neither like, nor trust because all of these squabbles don’t matter anymore. The only thing that counts is defeating the Night King.
Jon talks to Jorah | This would have been the perfect opportunity to bring up Danielle. Seriously, when I saw them starting talking I was already shielding myself for some “isn’t she just amazeballs”-comments from Jorah and maybe even Jon. Simply because ... well it’s Jorah’s favourite subject in the whole world and if Jon really was jealous he could have asked some side-eyes question about his relationship with her. Jorah himself could have pulled a Tyrion a la “Kh*leesi is the most wonderful person in this world, you will see that and then call her your queen -ugh- too.” Have Jon say something a la “D*enerys, she is quite an impressive woman.”. He’s talking to someone who knows the woman he supposedly loves very well, why isn’t he prying for some information? But she isn’t a topic of conversation between them at all. Similar to many of the things mentioned above, while this scene doesn’t necessarily refute any potential romantic feelings from Jon’s side, it is clearly a missed opportunity to shift our focus on them.
Jon talks to Tormund | Danielle comes up, but again not in a personal context. Another missed opportunity to mention the emotional aspect of their relationship. Since, you know, this is Tormund. They could have easily written in a comment a la “What does a fucking dragon queen look like?” or something like this. If you need a shameless character who doesn’t care about personal boundaries and just outright asks inappropriate questions, Tormund is your man. Hell, it wouldn’t have been out of character for him to straight out ask whether “Jon’s little pecker got happy with the dragon queen while he was south. Is that why he took so long?” or something alike. But no. He only asks “so you’ve met that dragon queen?” and Jon takes the conversation into the political direction. He brings up that she’ll only help if he bends the knee and Tormund this train of thought by highlighting the Jon/Mance parallels in this situation once again.
Jon talks to Beric | His talk to Beric revolves around the whole Lord-of-light, brought-back-from-the-dead, what-are-we-fighting-for issue. Beric states that they are not fighting for some king or queen, but for life itself. Weird that Jon would proclaim a woman “his queen” -ugh- not 30 min later. Jon rehashes a line from his night’s watch vows: The shield that guards the realms of men. This is a call-back to his conversation with Half-Hand back in season 2(?), who reminded him that “we are the watcher’s on the wall” before he died and told Jon “to do what needs to be done.” Does anyone remember how Jon infiltrating the Wildlings went down? 
Looking back at the three big issues surrounding the relationship between Jon and Danielle, only two of them were brought up in their time apart: The impending threat from the dead, how fighting them is all that truly matters and Jon’s dilemma of bending the knee to get Danielle’s help. She is never mentioned as a love-interest. The personal side of this equation is not addressed between him leaving DSt and him being saved by her.
Which is weird, because ... a bunch of dudebros alone in the wilderness, some of them even talk about ladies and sex and dicks (emmy nominated writing, folks), would have been a great opportunity to bring this up. But instead the theme of Jon’s conversations seem to be “proud men and their downfalls”. Something that has been mentioned many, many times over the season. 
His conversation with Jorah (like he didn’t talk about Danielle with Jorah -kh*lessi loving- fucking mormont.) also revolves around the topic that honorable men don’t always get what they deserve. Jorah’s father was killed by his own men, Ned was executed. Plus the Mance dilemma is connected to this as well. “Pride” and “honor” are more or less the same thing when you think about it. This plays back into the “Northern fool” narrative the season has been setting up since episode one. We here about three men who found their untimely death because, or despite of, their own kind of honor. Jon has been warned by Sansa not make those same mistakes and Jon himself has admitted to coming to close to doing just that. But more on this later. 
All of Jons interactions and seeing how effective the dragons truly are explain why he has made the decision to bend the knee, at least why he’s ready to give in to her demands, not why he would actively give it up. But there were no conversations that would allude to his growing feelings for Danielle. At all. If that was the “emotional climax” of the episode, shouldn’t they put in a few things hinting at it?
I would also like to mention how very odd his behaviour after waking up was. The first thing he said wasn’t “where am I?”, it wasn’t about his uncle who just died to save him (which I would assume would be the first thing that comes to mind). It wasn’t Danielle asking him “How did you get out of there??!! We all thought you were dead.”. Before Danielle could say anything, he tells her how sorry he is about Viserions death. I’m not trying to be insensitive here, I know that her dragons are immensely important to her but to Jon? His uncle was just killed in front of his eyes, shouldn’t that be the thing he is heartbroken about? He didn’t even build any kind of personal connection to Viserion specifically. He should have started this conversation with many other things, but he very deliberately chose to start with that.
If I’m allowed to put this in colloquial terms, he is sucking up to Danielle. Just as he’s been doing in ep4 when she asks for his advice, just as he did in ep5 when he didn’t think “beautiful” was the right word to describe her “children”. This is before Danielle promises to destroy the night king with him, it seems to me that he is doing what he’s been doing for the entire season: Catering to Danielle’s feelings and wishes. Soothing her temper. Not saying the wrong words as not to alienate her. Rather than holding his tongue or beating around the bush, as he has done before, he actively says exactly what she wants to hear. And that’s exactly how that interaction progresses.
Jon establishing physical contact to create an intimate atmosphere, “using” her obvious crush on him, going a bit further by inventing a fun nickname for her, him calling her “my queen” -uuughhhh-, giving up the North and saying that what the Northern Lords want doesn’t matter because they’ll change their mind once they see how amazeballs she is. This entire conversation revolves around her, Jon only talks about things that are supposed to make her feel good. Again, there is no mention to how Jon survived. Jon apologizes for going on the dumb wight hunt ... when it wasn’t even really his idea?! Tyrion came up with the plan of catching a dead and bringing it to cersei. Why is he taking all the blame for this bullshit plot? 
Danielle isn’t taking at least some part of the blame herself “if only I had believed you, all of this wouldn’t have happened. Viserion would still be alive”. The next comment might be fueled by a bit of salt and left-over range from yesterday, so don’t take it too seriously, but “you have to see it to believe it.” sounded almost like an excuse. “Don’t apologize, it’s good this happened, this isn’t your fault. But it isn’t mine either, because how could I know?” This would be consistent with her characterisation so far. She is not willing to admit any mistakes, not even to herself. If I look back, I’m lost. But Jon doesn’t point any fingers either, not even in the most subtle way “we had to do it to convince you and cersei”... which is odd. As said above take this last paragraph with a grain of salt, because it was written with an ounce of salt.
Why would he just call her “D*ny” all of the sudden? He hasn’t called her anything but “Your Grace” until now. This comes out of nowhere. It’s pretty easy to create a narrative leading up to this moment, btw. Why not have Danielle offer to address each other on a first-name-basis? Do it on the beach when they say their farewells, Jon calls her “Your Grace” and she answers with “Daenerys is alright.” Jon only nods and turns away. At first Jon declines because of the whole (potential) political, I-can’t-love-you-because-THA-NORTH, so-I-have-to-stay-formal thingy, but after she saves his ass he calls her D*enerys for the first time. She smiles, obviously moved by this and he jokingly says “or maybe D*ny?” and the show can take it from there. Sounds a lot more romantic and a lot less random, right? It would take two lines of dialogue to make this seem a lot more natural and a lot less suspicious and ooc.
Side-note: After Danielle leaves the room and Jon opens his eyes (did he only pretend to sleep?) he looks exhausted, exasperated. Not like a man who just shared a very intimate moment with the woman he loves. It just doesn’t add up. Why is Danielle lovingly looking at his sleeping face not the last shot? 
Altogether, their “romantic relationship” is still as one-sided as it was before, only now Jon is actively pushing for it to be that way. All in all his behaviour is way over the top. It sounds like a man who’s simply trying to woo a woman for one reason or another. If they had taken it down just a nudge I would have believed it. If they had shown some restraint to either the romantic tones or the kneeling issue, I would have taken it as Jon’s genuine feelings. But this way? It’s too much, too sudden, without having a proper build up to it. It’s just not how “Jon” would act.
This is mostly what if comes down to: the romantic hints over the season were really, really on the nose - dramatic, emotional scores and line reading that do not match the tone of conversation (cave scene), or third characters spilling it out for the audience (davos), or moving deep into soap opera territory (boat scene) - but just as superficial. All these hints are thrown into our faces without properly being set up or developed. There were countless possibilities to give it some real depth and as little trust as I have in Dickheads&Douchebags writing abilities I don’t understand why they wouldn’t use them. As much as I disagree with a lot of their choices I can contemplate why they are doing stupid. The whole stupid arya vs sansa subplot is there to create some tension and drama in WF. I get it. It’s stupid as hell but I at least understand where the stupid is coming from. I know what they are trying to achieve with that stupid. But this? Half-assing the big love story of the show? The only explanation that makes some sense to me is that Jonnearrris is a red herring. 
A really well executed one, btw. Make sure the audience can’t miss it, but also prevent them from forming a real emotional connection to it. After all it is supposed to distract from the real storyline (I’m going to assume jonsa & targbowl) not compete against it. You want the audience to be shocked, but not hate you for ruining the most amazing, emotionally involving love story you’ve ever seen.
This leads me to my final conclusion: There are only two options here.
a) Dickhead & Dipshit missed out several obvious opportunities to flash out Jon’s feelings, because ... just because, and fucked up to effectively use their limited screen time to develop the grand love story of GoT. The cave scene, for all it’s romantic lighting, background music and line reading, concludes on the very political issue of northern independence. Dragon petting could have been used for Jon to make a personal statement (I have a direwolf I love and miss very much - as does the audience, btw - I wouldn’t call him “my child” but I got the connection you have going on with those lizards), instead Jon isn’t to keen of the fire breathing lizards and their conversation ends with him not being to sure what to think about her victory on the field of fire. Their goodbye scene could have been used to have them throw a last longing glance at each other, instead Danielle looks on while Jon has his back turned and doesn’t look back. Jon’s conversation with Jorah could have been used to cause and highlight some tension between them since they are “in love” with the same woman, instead it revolves around honorable, upright men and their deaths. His conversation with Tormund could have been used for some light-hearted guy-talk, as is Tormunds speciality, but instead it’s about the lives Mance could have saved if he had let go of his pride (and honor) and knelt. Again, there isn’t much in the season that would outright refute any romantic feelings from Jon’s side, he at least seems attracted to her and perhaps a bit intrigued (she is beautiful and a very fascinating woman if nothing else), but I can see missed opportunities to have Jon’s feelings mentioned or emphasized left and right. So many that it’s hard to believe Dumbass & Douchebag aren’t aware of it. If the entire season was building up to this “revelation” in ep6 and the following boatbang in ep7 wouldn’t they have used everything they got to actually build up to it? If this truly is where the show is headed, they did a very very lousy job. And don’t tell me that all the things I mentioned above would be “too cheesy” because the last Danielle / Jon scene in ep6 was fucking cheesy as hell. Btw, maybe my Jonsa-shipping-goggles make me a bit “immune” to all this, but if that’s the case, jonnearis-shipping-goggles make people overly perceptive to it as well. This accusation goes both ways.
Which leads me to the second option:
b) They didn’t mention the personal aspects of this plot point because they don’t really matter. Because things are not as they seem. They emphasize the political and “end of the world” issues in Jon’s story line and his relationship to danielle because those are the things influencing his behaviour, most importantly the drastic shift in his behaviour between leaving DSt and reuniting with Danielle on the boat on their way to the stupid stupid dragon pit meeting: He is giving up on his political agenda and uses all means possible to make sure Danielle helps them. He has learned from his predecessors mistakes (Mance not kneeling - and dying, Ned being to trustworthy - and dying, Robb falling in love with a foreign woman - losing his people - and dying) and is now using that knowledge for his advantage. There are only three possible payoffs to the “Northern fool” narrative: 1. Jon is making the same mistakes as the men he’s compared to and will suffer similar consequences (unlikely, since he is aware of that and has already broken with his mance-persona), 2. he does the same mistakes without it backlashing because Danielle is just so amazing (very unsatisfying storytelling) 3. he learned from it and doesn’t make the same mistakes. He goes along with everything she wants, tries to win her over by all means possible because what he said is true “D*enerys is their last hope”. Not only in this specific event of stupidly getting trapped by the Army of the Dead in the middle of a frozen lake because ~someone~ thought it was a great idea to go on a fucking idiotic wight hunt, without horses, adequate manpower or any real plan, but also in the grander scheme of things. If Danielle doesn’t help them (what if she refuses to go back north after one of her dragons was killed there?) they are fucked. That’s why Jon went to DSt in the first place, later admitting that is was a stupid idea, that’s why he went beyond the wall to catch a fucking wight, even though that was a really bad idea. All his actions this season were motivated by defeating the threat to the north. All of them (except for choking Littlefinger, *cough*). Even reuniting with Bran and Arya had to take a backseat to this issue. Is it really that far-fetched that his ooc-behaviour at the end of ep6 is the same? If you consider all the things mentioned above? He can’t risk her bailing on him, so he does everything he can to cater to her feelings and desires voluntarily and up-front, to make sure she fights the WW’s, to make sure she doesn’t have any excuse to leave them high and dry.
I would also like to mention that this theory doesn’t even need to implement any possible dark!dany or targbowl or just general endgame speculations. Except for one paragraph, this is solely based on what happened on screen this season. This isn’t about me being a salty shipper either. It’s no secret that I’m not a fan of any j0nerys romance really, but the big pay off in e6 was simply unearned. Either Dickhead & Dipshit fucked up writing a romance or they are presenting us with a wonderfully crafted red herring. Being the optimist I am, I’ll believe in the second until proven wrong. 
I teased to write a “little something” about this issue, but it turned into a “fucking big something” instead. Thanks for sticking with me until the end!
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blschaos3000-blog · 4 years
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Its 3:52 pm
Welcome to “8 Questions with…..”
In doing this series and especially of late,I have been really blessed to be able to talk to a lot artists that I have on a “wish list”. These are people whom I really want to talk with but I don’t think I’ll get a chance to. Ashley Kate Adams was on the list. I first was introduced to Ashley Kate and her talent when the cheetah and I watched a excellent film called “1 Message“. Its a story about a young woman who gets breast cancer amd who is slowly falling into a deep depression. When the young woman meets a man online while tracking down her family tree,the connection changes her life on so many levels. This is a movie that I loved quite a bit and I thought Ashley Kate Adams did a great job in what I found later was her feature film debut and she was only 21 when she filmed it. Since then I have been following her career and chatting once in a while on Twitter. Last week I decided to take a chance and ask Ashley Kate for a interview and to my surprise answered “Yes,I do” within 5 minutes. While we were talking,I asked about her new big project,”Boy Hero” which is set during the 1954 Senate Comic Book Hearings and where publisher Williams Gaines and his legendary EC Comics were grilled because of the content.  It was also during the height of McCarthyism and the Hollywood blacklisting,a dark and despairing time (as well as a forgotten period). As soon as we as a society are allowed ,Ashley Kate is kicking “Boy Hero” into high gear and we’ll be posting updates on how the film is progressing. * As you can see,Ashley Kate is a woman on the go,go,go!!  I am so happy that we got a chance to catch her in mid-stride so she could slow down enough to answer her 8 Questions…….
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Please introduce yourself and tell us about your latest project?
Hello! My name is Ashley Kate Adams & I am an actress, producer & writer living in NYC! Right now we are so excited to be introducing Frankie! The Musical Cast Concept Album to the world. It releases this Friday, May 29th, on Broadway Records and will be available everywhere music can be streamed. Frankie! The Musical (@frankiemusical) is written by 16-year old Composer and light, Elise Marra. The album is produced by AKA Studio Productions & Mitchell Walker!     Our other main project is “Boy Hero”, a feature film inspired by the Comic Book Trials of 1954. I wrote the 1950’s period film which was inspired by a panel I saw called “When the American Librarian Saved Comics” by Carol Tilley. The film is rounding out development and will be Produced by AKA Studio Productions, Pigasus Pictures & AR Productions and will film in Cincinnati! Please follow us (@boyheromovie) for more exciting updates on fundraising development and production of the film. 
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(Michael Kushner Photography)
How have you been coping with Covid-19 pandemic? How are you staying creative and focused?
   I have been thinking a lot about this recently. I’ve been coping with Covid-19 productively. I think many things prepared me for this, the main being thing being the sudden loss of my father in 2016 to cancer. During that time I had to learn to balance many things in conjunction with being completely gutted out with grief. During that time I turned to creating to heal myself and process my emotions so during this pandemic I have followed suit. I’ve actually been working at home with my production company since 2011 so that routine feels like a continuation. We were very lucky, we had just gotten many incredible projects like Frankie! in the can before it felt as if the world froze. Now these projects are able to bring joy to others during this time. On Friday’s I’ve been going LIVE with #BYOP to lead conversations on Grief & Productivity for the Creative @ashleykateadams on Instagram. It’s been important for me to try to help folks navigate this time! 
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 When did you first catch the acting bug and what was the reaction like with your family and friends?
I don’t know if I ever caught the acting bug I was kind of just born into the industry. It is what our family does as our family business. You know some families might have a restaurant or a heating & cooling company, we are performers. My parents, who also majored in musical theatre in college (that’s how they met) were VERY honest with me about how hard my future was going to be to move to NYC and pursue this full-time but they knew it was what I was called to do. And I got to make space here for my sister 10 years my junior, Audrey Belle Adams, who recently began her adult career also based out of New York City. 
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 How did you land the lead role in your first feature film “1 Message”? What three things did you take with you from the experience? How important is faith to you?
I actually landed my role in “1 Message” thanks to my father. He pitched me at a dinner meeting where the director happened to be. I then auditioned and got the role. That film taught me a lot. The first was that leading a film and being on camera 14 hours a day, 6 days a week is an extremely challenging job. Which leads me to the second thing, I learned how to treat actors on set. The “1 Message” experience is one that seeded in me the need to become an independent film producer to make sure I was always taking care of my actors in an extremely supportive way. Environment, transparency & discernment are everything on a project. The third thing I learned was how strong and aware I was even at a younger age on set. Faith is important to me. It is important to me to believe in something much bigger than yourself. 
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(Michael Kushner Photography)
   Which do you like more? Doing TV/film work or live theater and why?
I love both equally but for different reasons. Right now I am very much falling deeper in love with film. I love learning and because I was raised literally at a theatre, in film there is still so much to learn for me. I love each new project on any side. It’s a blast to me navigating each nuance! 
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(Michael Kushner Photography)
 What  have been the three pieces of advice given to you in regards to being a performer?
Wow! Great question. “Your best secret weapon is yourself”. That was taught to me by the head of my musical theatre program at CCM, Aubrey Berg. He was correct. I would say the next is to “Be a kind person who people enjoy working with” from Sandra Rivera of Dancensation Studios and the most recent from this past winter break  to “Keep saying yes to the right things and keep expanding” from one of my high school mentors, the great Gail Benedict. 
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(Michael Kushner Photography)
 What roles challenge you most as an actress and how do you adapt to make the role yours?
Wheeew. For me the biggest challenge of my actor life was doing “A Christmas Carol(e)”, a one- woman show, directed & written by Alex Freeman. It was terrifying because it was only me on stage for 70 minutes. All I could do to survive it was to walk through it and continue to adapt. Every. Single. Second. I had to be truly present without a fourth wall. There was no protection, no sheen. I love hiding behind characters. I revel in it. It allows me space for courage to be more vulnerable. I’m a weirdo, my prep is usually reading, researching and then I adapt my breath and body. Everything else just kinda happens. The magic of acting! 
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 How did the idea for #BYOP come about? What makes a good producer in your opinion?
#BYOP (Be Your Own Producer) came from seeing the need for it. As a producer, actor and creative I can only take on so many projects full time at once but #BYOP allows me to be available to you and your project on an hourly basis. It also teaches content creators how to producer so they can become sustainable and independent! During the pandemic it expanded to teaching these intentions in a group digital setting. The brand is continuing to grow and diversify. In development are many exciting new pieces, perhaps something you could listen to and something you can hold. Stay tuned and be sure to follow @ashleykateadams for updates! ! ; ) 
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(Michael Kushner Photography)
You created a one woman show called “A Christmas Carole” for the theater, where did you come up with the idea and how hard is doing a one person production on a nightly basis?
I helped to create the show but I cannot take credit for the idea or writing on that one, that was my creative partner in crime, Alex Freeman. We put it up in 6 days with the help of our two amazing stage managers. It’s exhausting and exhilarating doing a one person production. I lived like a nun during the day to stay calm and preserve all of my energy for the performances. I still can’t believe I did it! 
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 How important are awards to you as a performer?
Awards are not important to me as a performer, but the respect and nod that comes because of them is appreciated. I got my first best actress award in 2018 for Alex Freeman’s two-hander “Love” at the New York Theatre Festival. It’s hard being a woman in the business on every side. Especially as a Producer. So when a group of people decide not only that you  “did well” but that you should be “acknowledged”, that is nice. 
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You love to sing,what makes a good song and which three Broadway scores would you love to sing if given a chance? Who is your favorite singer/band at this moment?
I do love to sing! It’s a part of my identity even though I’ve been more internal as of late with my creativity. I would say three Broadway scores I would love to sing through would be “Waitress”, “Sunday in the Park with George” and “The Sound of Music”. My favorite singer is my sister, Audrey Belle Adams @abelleadams, always and forever because she has the most flexible vocal instrument I have ever heard and my favorite band right now is M.N.O.P. @MNOP_music. They have rockin’ folk punk music, a kick butt lead female singer & a really cute drummer : ) 
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 How important is self-promotion to you and your career? 
Self-Promotion is a large part of a creative career. In the age of social media & “influencers”, it has to be. I have not always been good at it. I had to learn to produce others to get comfortable producing & promoting myself. 
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 What do you like to do on your down time?
In my downtime I like doing yoga, going on walks, listening to true crime podcasts, reading, taking class and spending time with my loved ones. 
 The cheetah and I are flying over to watch to you in “A Christmas Carol(e)” but we are a day early and now you are stuck playing tour guide,what are we doing?
If A Christmas Carol(e) played NYC and there was a day off I would say to spend the morning in Central Park, afternoon around Bryant Park popping into the Strand Book Store & the Bean coffee shop and to spend the evening in the theatre district enjoying an OPEN Broadway. Late evening in the village hopping venues and listening to live music! 
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(Michael Kushner Photography)
  I want to not only thank Ashley Kate for chatting with us but also for being inspired to make “Boy Hero”. I cut my fanboy teeth reading EC Comics growing up. When I read William Gaines bio and found out just how close that comic books were to being banned,it was shocking. Without Gaines and a slew of others,including many librarians fighting this censorship,there would no “Star Wars”,Marvel or DC or many cultural icons we take for granted today.     Like I wrote before,this is a forgotten piece of American history and much respect to Ashley Kate and her production team on making this film to hopefully remind us of what we almost lost.
Ashley Kate has several different ways that you can keep track of her and her various projects.
You can follow Ashley Kate on her InstaGram page. You can check out Ashley Kate’s next project via her IMDb page. You can also follow “Boy Hero” on InstaGram as well. You can also visit Ashley Kate’s personal website by going here.
Thank you for reading and supporting (and sharing) Ashley Kate’s interview. Feel free to drop a question below and stay tuned for updates about “Boy Hero”. You can also read past “8 Questions” interviews by going here.
8 Questions with………..actress/producer Ashley Kate Adams Its 3:52 pm Welcome to "8 Questions with....." In doing this series and especially of late,I have been really blessed to be able to talk to a lot artists that I have on a "wish list".
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diabolikpersonals · 7 years
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Like, what do you think of them generally?
alright alright alright alright alright thank u for the opportunity to talk about diaboys!!! I appreciate it ! under a read more bc I ranted forever
LAITO:
My first exposure to dialovers was the anime so my first impression towards Laito was like “oh, he’s the flirty one - oh shit he’s banging her in a church, you cant do that, thats nuts lol” but as I got more into the games, Laito became SO IMPORTANT TO ME??? especially like his relationships, w/ ALL the characters like his brothers and yui and the other families and everything! I especially love learning more about his relationship with Ayato and Kanato because it’s so dang complex. His feelings towards his triplet bros is really complicated because he loves them and you know he loves them but his trauma w/ his mom sort of fucks it all up so he’s got like this genuinely nice and kind and loving personality fighting against this trauma and warped view of the concepts of love and family that Cordelia gave him, and what you get is, “I love my family and I hope they die” and throughout the games u learn more about the reasons why he has those world views and it’s SO GOOD Laito is such a well thought-out character!?! As a writer Laito delights me but as a fan, his whole deal makes me so dang sad djhfghjdkdfd
That’s why I was so fucking satisfied w/ Laito in the Laito vs Shin cd because you got a bunch of the darker stuff surrounding him (his tendency to push people off of buildings, that FUCKING VOICE DROP he does when he’s genuinely mad) and Laito was like...he was SCARY. And he was scaring YUI and he was scaring HIMSELF, too, which made me so sad!! Laito was like crying and punching walls and being like “why am I acting like this??” and it fuckin broke my heart dude. He’s a genuinely good person, he’s so wonderful, but he’s recovering from some really really nasty stuff. So that cd really gave me a sense of like, “Man, Laito hates this just as much as I do.” It makes me want to...idk...it makes me want to give him more opportunities to be good. He really is good!!!
KANATO:
As for my first impression, I think Kanato turned me off right away because I could instantly recognize all the tropes they were gonna use when they were designing him. You can look at him and tell that he’s gonna be the ~yandere~ character (I hate using that word but u know what tropes I’m talking about). As soon as they showed him eating a bunch of sweets I was like “yep.” When they showed us his room full of wax dolls, I was like “uh huh, that seems about right.” And then he yelled a lot and tried to stab Yui for making him french toast or whatever and I was like “ok.........I’ll go start ayato’s route” u know??? just super not my type, and the Kanato vs Azusa cd was torture because Azusa’s so soft-spoken but Kanato’s always yelling at the top of his lungs. I had to keep messing with the volume and it bugged me.
I think I would like Kanato a lot more if he...had a...friend. I think rejet kinda realized that he needed one and they had that in mind when they were introducing Azusa, but that ended up being a pretty bad failure I think. Kanato doesn’t really get along with anyone and he’s pretty open about admitting that he doesn’t like anyone particularly well. I’m glad to see him starting to love Yui genuinely but...idk I feel like every other diaboy has another diaboy(s) that he gets along with really well and it’s always nice to see them acting friendly and even encouraging each other sometimes! Kanato doesn’t really have that kind of relationship with anyone. When Ayato tried to reach out and apologize in LE, Kanato was like “lol kill yourself” and I was actually so fuckin mad at him, I was like “boy if you don’t fix that attitude of yours-”..........I guess I just wish that he had more character development by this point. That scene really hurt.
RUKI:
Basically the WORST first impression ever...my first Ruki scene that I ever saw was when he broke the cat’s neck and I was so pissed. I was like “immediately fuck this guy” and he became my least favorite character right away. And on top of that he was really elitist and one of those jerk intellectuals “ohhh solve this puzzle or STAY OUT THERE IN THE COLD you big dumb idiot. im smart and you’re not” and I was like FUCK this guy, how does yuma put up with him with HIS backstory?
But I hella warmed up to him during MB, like especially during Reiji’s route where Ruki was like “...uh...okay” the whole time jhdghdj that shit was hilarious. Ruki started feeling really real. And I think that like...hm...like if Laito is a genuinely good person surrounded by bad influence, Ruki is the opposite - he’s a bad personality surrounded by good influence. Ruki’s a jerk and he’s been a jerk his whole life but he has these wonderful brothers who love him so much and this lovely angel Yui and he’s just got all these good people who look up to him and he has to be good. This little asshole kid who treated all his servants like shit is now cooking dinner for his three adoptive brothers every day and they love him so much and they love him so much. It’s so fucking satisfying. I love seeing him supporting his brothers even though it conflicts with his personality and his main drive, like letting Kou run away with Yui even though Kou couldn’t become Adam. Ruki’s most important thing in MB was making one of the Mukamis become Adam but he gave that up to let Kou be happy. That shit is so important. Ruki was such a fuckin turnaround for me, I hated him at first but now I love the hell out of him and what he represents for the Mukamis.
KOU:
Kou is great!! I think he’s affected lots of characters in really positive ways, and he’s been affected in positive ways by different characters and it’s really nice to see. For sure he’s still got that trauma from his past but I really appreciate that Kou is in an environment that doesn’t have a lot of reminders of the bad stuff from his childhood. Like, how Kou was sought after for being such a beautiful child, and how he was trapped in a dark place for such a long time. There’s none of that shit when he lives with the Mukamis. Rejet could’ve easily put in tons of haunting reminders about Kou’s whole “too beautiful for his own good” thing but whenever he gets complimented, it’s usually for something different. Azusa will talk about how talented and amazing he is, and Kino’ll be like “idol clothes are pretty nuts huh? lol” and Ruki will be like “you’re working properly after all” and I fuckin love that shit...They could’ve made it so dang hard for Kou, but no, he’s in a much happier place now. He’s nice and comfortable being with these people. That makes me feel relieved lol
I already talked about how he helped Ruki but I think the most important relationship with a diaboy that he has is SUBARUUUUU cuz like, when you look at Subaru’s route you’re like “oh he definitely needs a friend, I’m glad he has a gf but he was so dang lonely and self-deprecating that he DEFINITELY just needs a genuine good friend” and then Kou showed up and he was like “guess what subaru? we’re gonna be friends, I’ve decided” and subaru was like “???” and MB happened and by the end of it Subaru was like “I took everything you said really seriously and I do want to be friends with you..............im not gonna say it out loud tho. let’s just shake hands ok” and I was like AW HECK YEAH!!!!! And then you keep seeing nice little reminders that they’re friends in other games, like in either LP or VC (Im sorry I literally cannot tell these two games apart) they were picking out hair accessories together for Yui, and in the Subaru vs Kou cd, Kou asks Subaru at the end if he had fun, and in LE Kou gave Subaru that pep talk and made Subaru laugh, and Subaru was like “Kou if I’m gonna die then I want you to kill me” and Kou was like “But I don’t want you to die!” and Subaru was like “you dont??? you actually care? about ME???” ITS SO FUCKING GOOD DUDE Subaru needed Kou so badly. Thank god for Kou honestly
KINO:
It was weird like...I was so mad at him during certain routes but I could never actually dislike him. It’s because he’s so dang funny tbh. He literally killed some of my favorite characters but then he would say a funny line and I’d be like “haha, I’m glad kino is here!” like it’s almost scary how charismatic he is towards both the other characters and to me, the player. He asked nicely if he could kill Shu and Shu was like “ok, sure.” Kino is hands down my fav villain because of this. Especially because you can really tell that deep down he wants to be a real member of the Sakamaki family and like he genuinely wants to be friends with people like Yuma and Kou, and he’s got the whole villain-turned-awkward-family-member trope which I LOVE. Like especially in that drama cd where he was like “I never get to go to school so I want to do home ec with you guys! Let’s make donuts!” and Kou was like “ok!!!” and kou tries to be super positive and encouraging the whole time even though Kino was actually secretly plotting to blow the place up. Kino looks like an idiot but he’s a genius tbh
and and and and and and I want him to kiss yuri. I think yuri is super in love w/ kino too, despite the fact that he’s. annoying. thats all I got dhgfdjskj...I love the childhood-friends-to-lovers trope so fuckin much
CARLA:
hey carla fuck you
I was really mad at him for his actions in DF mostly ^^; And tbh it’s really hypocritical because it was a group effort between both of the Tsukinamis, but I ended up loving Shin and hating Carla. Kino also did similar bad stuff to Carla, but I ended up loving him while hating Carla. So, why?
Well here’s fuckin why. Shin and Kino are cute & funny. They have their nice little payoff moments - maybe Shin hurt one of my favorite characters, but then you get to see how bubbly and energetic he gets around his big brother. He was walking one of his wolves around christmas time while wearing a red jacket and a random kid approached him thinking he was santa claus. That’s adorable! For a long time, Carla didn’t have anything like that. And he was a jerk to absolutely everyone, including Shin, who was so dang devoted to him!! Like remember in the DF cds where he was like “hey shin, the plan is we suck her blood until she’s purified from the vampires” and shins like “ok nii-san got it” and he started sucking her blood, exactly like he was ordered to, and then carla came in and STABBED HIM and was like “hey dont touch my property” like SERIOUSLY WHAT THE FUCK CARLA U TOLD HIM TO DO IT IN THE FIRST PLACE!!! IT WAS THE PLAN
And he fucked Ayato up real bad in DF so I was so mad...;; I only recently started forgiving him once diatwitter and LE started up. Diatwitter let us see his cute old grandpa side where he fuckin wanders around amusement parks by himself like some kind of cryptid and kou keeps being like “wait was that carla? what the heck??” and LE gave us some pretty nice stuff like carla being like “ur definitely my brother, shin” so...carla is ok I guess...but then again LE also gave us some bad carla moments like “if ur not actually a founder then u lied to me and im gonna kill u” so basically uh?? carla’s just a jerk I think. I’m warming up to him at a snail’s pace but he’s still a jerk. sucks about the endzeit tho, I hope he’s like permanently ok now
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stalen00bsblog · 5 years
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Every time you start a JavaScript project probably you follow most of these common steps:
Setup you the project with a package manager like npm or Yarn
Add a bundler that could be webpack, rollup.js, or any other. As alternative you can use a more aged task runner like Grunt or Gulp, or even a mix of them.
Develop your source code
build your project (this simply means generate the final JS code)
and finally... see the result on a web page
But…
There is another important step that is missing and happens behind-the-scenes...
have you ever wonder what happens inside the browser since when the JavaScript file is received to its execution?
Javascript Engine
The first and most important character in this story is the JavaScript Engine.
But, what is it?
JavaScript Engine is the program that take the JavaScript code and execute it.
Note
Saying “execute it” it’s not exactly what happens. We usually think at JavaScript as an interpreted language rather than a compiled language. That was true in the past but nowadays things are more complicated and deserve a deeper explanation. For now we can say that:
Javascript Engine compiles the code line-by-line just before it is being executed and we call it just-in-time compilation
Now, if you want to understand JS engine behaviour you need to start thinking like a JavaScript Engine.
Suppose that you web page contains only this simple script:
const jedi = "Luke"; let jediList = ["Luke", "yoda", "Obi-Wan"]; const defaultJediList = ["Luke", "yoda", "Obi-Wan"]; const message = "Use the force"; function useTheForce(character) { const otherJediList = ["Mace Windu", "Kit Fisto"]; let jediList = [ ...defaultJediList, ...otherJediList ]; if (jediList.includes(character)) { console.log("%s %s !", message, character); // => "Use the force Luke!" } }
Execution context
If you were a JS Engine the first thing you do is to prepare a comfortable environment to host the incoming code. This environment is named execution Context (EC) and we can simply define it as
the environment where JavaScript code is executed
To make this concept more pragmatic we can say that it contains all the information necessary for code execution, this includes the this reference, and all the variables, objects and functions definitions).
Now, what happens at page loading is that a default EC is created with the name of Global execution context.
It contains all the the built-in variables and functions of the language like the properties Math, String, console , or window (that is a reference itself to the Global Object).
Back to our code, and remember to think like a JS Engine. How would you read the above script?
As we already know, the answer is line by line, top to bottom.
**Line 1** - Engine: I see a constant declaration, I store it **Line 2 **- Engine: I see a variable declaration, I store it **Line 3 **- Engine: I see a constant declaration, I store it **Line 4 **- Engine: I see a variable declaration, I store it **Line 6 **- Engine: I see a function declaration, I store it
At the end what happened is that some declarations are stored in the global memory, no code execution happens. Anyway, there is a new character in our story I would like to introduce…
Lexical Environment
When we speak about storing variable and function declarations I mean saving somewhere the association of identifiers to their values. This place is a component called Lexical Environment and it’s managed following the lexical nesting structure of the code.
More or less the behaviour is this:
every time a scope is found a new Lexical Environment is created
for each Lexical Environment there is an Environment Record that maintains the list of identifier bindings found in the current scope
An outer environment reference maintains a link to the external Lexical Environment (or scope).
In our code we have only the global scope, its lexical environment contains the four variable and the function declaration.
Note that for the outer environment reference is null as it doesn’t have any parent scope.
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Call stack
Our script is interesting: very clean and dry. Now I gonna make the things more complicated by adding a function call (Oh my God, now it’s very tricky! 😱😱)
const jedi = "Luke"; let jediList = ["Luke", "yoda", "Obi-Wan"]; const defaultJediList = ["Luke", "yoda", "Obi-Wan"]; const message = "Use the force"; function useTheForce(character) { const otherJediList = ["Mace Windu", "Kit Fisto"]; let jediList = [ ...defaultJediList, ...otherJediList ]; if (jediList.includes(character)) { console.log("%s %s !", message, character); // => "Use the force Luke!" } } useTheForce(jedi);
What happens when you read the last line? (remember you are the Engine)
The function call cause the creation of a brand new EC, a local execution context. Remember that JavaScript is single thread so we can only execute one thing at time: the global EC will be frozen and execution pass to the new one. To manage the code execution among different contexts we need a data structure with the list of all existing ones.
This structure is the call stack, as the name suggests, it’s a simple LIFO stack (Last In First Out).
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Think about it as a layer cake: the base layer is the Global execution context (inserted by default in this structure), every time there is a function call you need to add a new layer on top of the existing one (Local execution context), when function execution is completed you need to “eat” the layer of cake on top to go on with the code execution on the layer (or EC) below. That means delete the EC on the top and free memory used for its data structures.
Local execution context
What we know now is that
Every time a function call happens the Engine creates a new execution context
This action includes two phase:
creation
execution
creation
In this phase JS engine perform the following action:
create the Lexical Environment. Like global EC it contains all the variables, and function declarations defined inside the function but it also the formal parameters and the arguments object.
create the Variable Environment. This is basically a copy of the Lexical Environment with some differences. For the scope of this article you should only know that it exists.
determines the value of this
Note that Lexical Environment is created every time a new scope (like if, for statement etc… are encountered).
execution
This is very straightforward and means only execute the code.
Now we need slow down a little and explain better how variable values are provided.
Scope chain
Let’s start with a definition:
Scope chain is the stack of lexical environments active for the current code. The sequence is defined by the outer environment reference that connect each element with its parent.
The scope chain is very important because is the key for identifier resolution and we can define it as:
the process that returns the value of a variable by looking up the scope chain.
Everything start from the most immediate lexical environment looking for a match and if it’s not found we need to proceed to the next one in the chain til the global scope. If no match is found, a ReferenceError is thrown.
Considers the piece of our code inside the if statement:
... if (jediList.includes(character)) { console.log("%s %s !", message, character); // => "Use the force Luke!" } ...
It generates a scope and therefore a brand new Lexical environment is chained.
In this two lines of code we have the two variable character and message. For both the identifier resolution start from the IF Lexical Environment, as the environment record doesn’t contains any item the search moves to the parent where a match is found for character and so the value “‘Luke’” is associated. For the message identifier we need to make another step and move to the Global Lexical Environment where we have a match.
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Conclusion
Now you can ask yourself if this article is useful, to be honest I can say that you can ignore at all what you have learned in the last five minutes, probably your code will be good enough and everybody will be happy of your work. But if you want to understand JavaScript deeply this is the right direction to follow.
Think about a car: you can drive it without any knowledge about how the instructions you give to the steering wheel, accelerator or brake will be transformed into movements of the vehicle. But if you wish to get the best performance you need to open the hood, take al look at the engine and understand how gears work together.
Now you know
what is it the Javascript Engine and the Execution Context
how and when an execution context is created
how declarations are managed
how variable values are resolved thanks to scope chain
That’s all folks!
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katywelsh · 7 years
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This month I had the pleasure of chatting to the talented (and very nice) Esther cox, who's work is just great! I hesitate to tell you what Esther does, because as your will see from our conversation, her practice is pretty hard to pin down! Suffice it to say, Esther is big on colour and has an excellent sense of pattern. We talked discipline, creative constraints and the importance of pleasure in design.
KW: you seem to turn your hand to lots of different things, how do you define your practice, do you have a job title?
EC: I’m fortunate to work across different platforms- that is my aim, for the project to dictate the work- so multi-disciplinary designer might be appropriate, and when I feel brave enough, just artist. But I call myself an illustrator. I think people can grasp that. A large part of what I do is creating patterns for fashion, so textile or surface pattern designer might be more appropriate. But surface design has all sorts of connotations which I hate so I steer clear of that if I can. My practice is still relatively new and I think I'm still defining what it is I 'do'. Plus, I hate being pigeon holed! This certainly doesn't help you get work…
KW: I feel ya sister, is difficult when you want to do a little bit of everything, but the industry doesn’t agree.
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KW: how has your career developed, how have you worked out what you wanted to do and how have you carved your niche?
EC: I studied embroidery at uni, but have worked in many different fields over the years- conservation, curation, teaching, research, and the dreaded retail. But I wasn't satisfied because I wasn't being creative. After a haitus of nearly 20 years, it then took quite a time to find my hand-writing, and it is still developing. I'll know I've run out of steam if it stops evolving. I'm definitely niche, though I think I've yet to find where it is I sit. In other words it's not comfortable or narrow. There is much I want to explore.
KW: That sounds great, I think keeping the enthusiasm alive is so hard, but definitely the best way to feed your creativity.
KW: your work looks like fun to make, is it? do you have a routine or is everyday different?
EC: I don't know if fun is the right word. Some times it is agony haha. But I'm interested in light, joy, beauty and the decorative. All those less worthy themes that people dismiss as trivial. They may be tranistory, but they are the most important to me. So if my work gives pleasure it is doing something right. Pleasure is woefully underrated. I'm definitely a creature of routine. I go do-lally if I'm not at my desk 9-6. Food every 4 hours. Exercise every day. I need that because freelance work is so sporadic and unpredictable. So the work can be different everyday, that is it's joy. But the routine is the same. Most people think I'm flippant and ditsy, because my work is, as you say, 'fun', but I'm very disciplined.
KW: I really agree with your thoughts on bringing joy through your work, if design isn't there to make people happy, whats the point?!
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KW: do you work for yourself or do you have an in house job too?
EC: I think I have what people call a portfolio career. I have 2 or 3 of people that I work for on a regular basis doing various things, and I have an illustration agent. But then it's whatever hits my desk and finding time to progress my own work.
KW: That sounds ideal, can i do that too?
KW: do you find that work comes to you, or do you have strategies to find paid projects?
EC: I loathe looking for work. I'm dreadful at it, because of course the constant rejection is soul destroying and as my answers to the first two questions demonstrate, people don't really know where to put me, or what to do with my work. Everybody likes neat boxes and I don't really fit in any. So my strategy is a burst every now and then of attempting to sell myself, and then retiring to my sketchbook to lick my wounds. Even after several years practice I am still agog at the number of companies and individuals who want you to work for free or peanuts. The industry is not good at countering this attitude. It seems ingrained. Contractual obligations and copyright can also make it hard to 'show' my commercial work, which is also tricky as potential clients always want to know what you've done and for whom. So for me the best I can often do is share my personal work. Having said that I've been very fortunate with much of the work I've had. There are some people that just 'get it', and are pretty happy to give me free rein to create. They usually find me. Obviously I'd like more to find me...
KW: having spoken to a few people about this, i think its how we all feel. Its really difficult to find those people you are destined to work with, often times, you don't even know they exist!
KW: how do you balance your love of making things by hand with the needs of your commercial clients?
EC: It depends entirely on the client and the brief. Everything starts by hand for me regardless, but it depends on the required outcomes. I actually like these constraints. A well written brief is a joy. Working out those puzzles is what I enjoy.
KW: Im with you there, I thrive off a bit of direction!
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KW: where do you find your visual references, you post some gems on Instagram and i was wondering how you find out about inspirational artists, new and old?
EC: I’m not one of those artists who is inspired by nature say, I'm inspired by process and patterns. I like to see how others have approached things in order to expand my vocabulary. I'm a magpie. I've always loved history and art history. So looking is my favourite pastime. If I have a day off I'll probably go to an exhibition or a museum. I have too many books and of course google is very useful. There's just so much to learn.
KW: Cool, what artists are you inspired by at the moment, can you recommend any interesting people?
EC: Well always Matisse, natch. Look at his painting The Moroccans. Everything I want to say about dissonance, frustration, balance and pattern is in that. It's a struggle and it's beautiful. For a recent project I looked at Crysede textiles, Gunta Stolz and Ruth Reeves- I was on quite a Deco vibe for that one. I've been looking at the painter Leon Benn for colour. Any colourist I go gaga for. And I'm enjoying line again, so I'm looking at Marcel Vertes and a lot of greek vases. Though really you could probably just look at the elegant whimsy of Luke Edward Hall for that kind of thing.
KW: whats your motivation?
EC: There is personal and professional motivation. I recently had a brief where the work will be included in a national archive. That is pretty satisfying. To sit alongside some of your heroes. Personally it is instinct and expression I suppose. I honestly don't know what else I would do.
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Thanks Esther! I want to extend a big thank you to Esther for answering my questions so insightfully, I loved reading your answers!
Please give Esther a follow @esthercoxskiosk and check out more of her work at www.esthercoxkiosk.com
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marjaystuff · 4 years
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Elise Cooper interviews Julia London
The Billionaire in Boots and A Royal Kiss & Tell by Julia London are the latest two books that show why she is “Queen of the Banter,” writing family-focused funny and endearing tales with snappy, witty, and teasing dialogue between the hero and heroine.  
A Royal Kiss & Tell has some very funny moments as the hero, Prince Leopold and heroine, Lady Caroline Hawke argue and confront each other. For example, Caroline says to him, “given that your feathers have flocked together with his.  I’d rather be vain than ill-mannered like you.”  His response, “I am unaccustomed to being so completely contradicted every time I speak.  Do you treat every gentleman of your acquaintance in this manner, or do you reserve this behavior solely for princes? As evidenced, Prince Leo becomes apalled that Lady Caroline cannot hold her tongue, conforming to societal norms of the time.
This is the backdrop as both return to London where he and Caroline’s brother, Beckett, become best friends. The prince is returning partially to investigate a human trafficking ring, which he was told about.  Unfortunately, as he secretly talks to maids to help them escape, wrong intentions are implied. This is where the mystery begins, how is he to expose those involved in sexual slavery and save the girls? He has no other choice then to turn to Caroline for help who completely goes all in. In addition to working together to free the girls, they realize that they have more in common and a secret budding romance begins.
Caroline’s ability to be the center of every man’s attention allows her to use her assets to find the girls, but also draws Leopold into her charms.  She can be selfish, shallow, and self-absorbed, but also vivacious, charming, and self-assured.  The Prince feels sorry for himself, being the second son who sees himself as useless and unappreciated. But when approached to help, he acts and shows that he has a backbone.
The Billionaire in Boots also has a lively dialogue, a sassy heroine, and a hero unsure of himself.  But instead of having a royal environment this plot has a western cowboy theme. A scene in the book shows how these two butt heads.  Nick, the hero tells the heroine, Charlotte, “I’m not actually the grim reaper.” She asked him why he was at the bar, “Shouldn’t you be at your house staring at a rescue cow or something?” His response, “The cows are down in the valley.  I wouldn’t be able to get a good look.”
Nick also feels unappreciated and not able to make a useful life for himself.  After his father died, he had to take over the cattle ranch, which is something he never wanted to do.  He gave up his dream to become a commercial pilot. He is a cowboy who loves the ranch but doesn’t want to run the ranch, but knows he has to help get it out of financial disaster. He put everything aside for duty.  But he was not alone because Charlotte was the office manager who knew far more than he did.  She also has a dream, to settle down with her prince charming and raise a family instead of being a career-oriented person.
All the heroines seem to have a common characteristic: smart, direct, charming, and know what they want out of life, and Charlotte is no different.  Nick, as with the other heroes are thrown into a life they would not have chosen for themselves and rely on the heroine to help them find themselves.
Both stories include tenderness and humor throughout.  They involve a love/hate relationship, passion, and characters somewhat at odds with societal norms. The snappy sarcastic dialogue moves the story along allowing readers to laugh, smile, and cry with the characters.
Elise Cooper:  The Billionaire in Boots cover of a black lab is so cute.  Is that your dog?
Julia London: I have yellow labs.  I am on my third, Moose.  I wanted the dog in the story to be a lab because I love them so.  But I have to say that my current one with the quarantine is driving me nuts.  He is almost eleven and has forgotten the rules.  Moose was the basis for the dog in the story, Rufus.  He has done some of the stuff done by Rufus. For example, the scene where the dog walks over everything, this is definitely Moose.  My labs have always been goofy.  
EC:  Nick could not pursue his dream?
JL:  I really like the idea of people who have a dream and for whatever reason cannot pursue it.  I have known people in my life who thought they were going to do something else and that did not happen.  I also like that it would make the hero grumpy.  
EC:  How would you describe Nick Prince?
JL: Obviously grumpy, but also disgruntled and feels like he got the wrong end of the deal.  He has a good heart.  Nick is a loner which is why flying is so important to him. He could see the world without family and responsibilities.  I think he is resentful of his father and family who never considered what he wanted.
EC:  How would you describe Charlotte?
JL: Bubbly, rock solid, someone everyone can rely on.  She has ambition, but it is a goal toward happiness.  She wants the whole nine yards of a husband and children. My oldest sister was like that because all she wanted was to be a mother and wife. Charlotte is self-assured and was emphatic that no one would tell her how to lead her life.
EC:  How would you describe the relationship?
JL:  It was a slow burner.  I like that it developed over something other than a physical attraction. Having worked together they know each other’s strengths and weaknesses. There were no surprises.  I really like this idea of office relationships.  
EC:  The scenes with the dating apps were hilarious?
JL: I hear a lot that the descriptions and pictures do not match what the people put on site.  I know a lot of people who did meet through an app.  I also went on the sites to see how people presented themselves to the world.  
EC:  There were a lot of references of the author Harlan Coben?
JL:  I am not a friend of his, but I think after all those mentions in my book he should be my friend now. LOL.  I wanted an author that both males and females would read.  I have read a couple of his books and thought he would be the perfect author for the entire family to pass the book around.  
EC:  Softball plays a role?
JL:  I was in a co-ed softball league in my thirties.  I always have been sporty, but not really good at softball.  I played 2nd base and the outfield.  I stopped playing after I nailed the 2nd baseman with an errant throw from the short outfield position.  No one was sad to see me go.  I am much better at volleyball.  Now I don’t play team sports, but do love to go on biking vacations.  
EC:  Is this book the last in the series?
JL:  Probably, because all the loose ends were tied up.  I did love creating the entire dynamic of the Prince family.  I think I am done writing cowboy stories for a while.
EC:  Let’s talk about your other book, A Royal Kiss & Tell?
JL:  All the princess series has women from different levels of society who get their own prince.  I never wrote them as wall flowers.  They are their own women who can speak for themselves.
EC:  How would you describe the heroine, Caroline?
JL:  She wants to be a dress maker. She is beautiful and is not humble about it.  I love this about her.  She can be aggressive but does wonder if people love her for who she is as a person.  She can be self-centered, vain, but also spirited, confident, and sophisticated.
EC:  She is direct?
JL:  Yes, I wanted her to stand up for herself.  It is OK for male characters to be like an alpha, but when it’s the female character it upsets people.  Why? She has every right to be as sure of herself as her brother and the prince.
EC:  Speaking of making dresses-did she make the dress that is on the book cover?
JL:  LOL.  We looked at many dresses and got the idea for the book cover from the Met Gala. Blake Lively wore a dress similar to the one on the cover.  It is a beautiful dress.
EC: What about the wedding scene?
JL: Based on Grace Kelly and Queen Elizabeth’s weddings.  I really wanted to make it authentic.
EC:  How would you describe Leo?
JL: I based him on Prince Harry ten years ago. It had been reported he had enjoyed being a partier and was not sure he wanted to be part of the Royal family.  I thought how all the attention is given to the Crown Prince.  I wanted to have Leo unsure what he would do with his life. In the beginning he is snobbish and a non-conformist, but then redeems himself.
EC:  How would you describe their relationship?
JL: Two soulmates who meet.  They cannot see it in the first half of the book, but then they recognize they have a lot in common.  They play games at first, but eventually decide to work together.
EC:  Next books? JL: The next Princess book, A Princess By Christmas, comes out in the fall.  The two countries in this book come to London for a peace summit.  The hero is new but the heroine is Eliza’s sister Hollis.  As was referenced in this book she wants to move from a gossip columnist to write meaningful articles.  Eliza and Sebastian will be back.
A book out in August, You Lucky Dog is about a dog walker that switches two Bassett Hounds.
THANK YOU!!
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mitchbeck · 6 years
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CANTLON'S CORNER: NACHBAUR HAS CT HOCKEY DNA
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BY: Gerry Cantlon, Howlings HARTFORD, CT - Hartford gave Don Nachbaur a chance to live two hockey dreams. The first was when he was an active player and the second came when he returned last week for "Whalers Weekend" at Dunkin’ Donuts Park. It made him truly happy. “It's awesome to be back in the city again. I have seen so many old friends and faces the last two days; it's hard to keep track of all of them,” Nachbaur said. His smile radiated throughout the entire room. “Taking it all in 36 years later, how much the city has changed. This is fantastic. The late ‘70’s and early ‘80’s, it was a vibrant downtown scene. Then it had plenty of places to go, eat, and every day it was a happy place. Kinda sad to see how things have gotten in a bad way here. "We used to go to places and meet the fans and had a great time. You don’t see too much of that now. The Yards Goats, thankfully, are doing great things today in honoring the Whalers though. I really appreciate it. It always thrills me to reconnect with a lot of people.” Now an assistant coach with the Los Angeles Kings, Nachbaur was selected in the third round (60th overall) in the early 1980’s by the Whalers. The pick came during their first NHL Draft. Nachbaur was a grinding, hard-working, left-winger who battled his way from the Billings (MT) Bighorns (WHL) to the Connecticut capitol by scoring 44 goals, logging 96 points and 175 PM in 69 games in the season that got him drafted. Right off the bat, Nachbaur got to see some of his hockey dreams come true, from playing in the NHL to getting to be with his boyhood heroes. “A lot of players wish they had the kind of memories I had. I got to play some exhibition games with Gordie Howe and Dave Keon that first year and it was something you never forget. Real icons of the game to be around. They were something. Talking to Marty Howe today, I told him his Dad was my hero. I said to sit and play a few games with him was something I treasure greatly. I played with Marty in Springfield my first year and with Mark in Hartford and then again in Philadelphia not many people can say they played with all three Howes on three different teams,” Nachbaur said with a laugh. His first NHL camp in 1979-’80, he found himself face-to-face with "Mr. Maple Leaf" of the 1960’s, Dave Keon. Not often did Nachbaur get to attend his first NHL training camp with one of his heroes, but he also got to room with him. “As a kid, I wrote #14 - Dave Keon on all my sticks and when they told me at camp he was gonna be my roommate, I almost jumped out my socks right there. It was amazing that this was actually happening. "In fact, I just reached out to him. He's living in Florida and I was talking to him about coming here," Nachbaur said. "We have kept in contact at points over the years and he is still as classy now as he was then. I have incredible respect for him. That's what's so great about this sport, the relationships you develop, and the good ones that last a lifetime. The Whalers gave me that chance to have these experiences." As a young man growing up in Kitimat, BC, hockey was just as much King of Canada then as it is today... just a bit different. “Back in those days, we had just five Canadian teams. Mostly two were on national TV in Toronto and Montreal, and the Maple Leafs were my team.” His first NHL goal he remembers clearly. “Assisted by Nick Fotiu and Mark Howe. I got the puck in the high slot and zipped it past (ex-Whaler) Pittsburgh’s Greg Millen (now an announcer of Ottawa Senators broadcasts), didn’t miss that shot,” said Nachbaur as if the play happened yesterday. His time in Hartford was brief. He was part of the famous deal that sent Mark Howe to Philadelphia where he was then flipped to Edmonton with Ken “The Rat” Linseman and a draft pick for slick skating defenseman, Risto Siltanen. “The draft pick turned out to be Troy Loney who I played with at the end of my NHL career. It was tough to get a spot in Edmonton then. They had guys named Gretzky, Kurri, and Messier, so I was on Moncton their (AHL) farm team. I had a solid season, but there was no room for me up there (in Edmonton).” Nachbaur put up solid numbers for the Moncton Alpines scoring 33 goals, tallying 66 points and 125 PM in 70 games. He was picked up on waivers in the summer by Los Angeles, but that didn’t work out. “They had turmoil right from the start. The coach, Don Perry, was a pretty popular guy in New Haven as I remember (second leading all-time point scorer and PM guy with EHL New Haven Blades) got fired early. It was crazy, so I didn’t get time in LA." However, their farm team was in New Haven and that was a good thing as he had a solid season with the Nighthawks. Nachbaur registered 65 points, on 33 goals and 194 PIM in 70 games. It showcased him for other teams. “I had a really good year there. I had tons of ice time. My game got better and I was in all types of situations. A lot of friends from Hartford came down to see me play and vice versa. Hartford and New Haven were similar, both fun places to play. I got to play with Daryl Evans, Warren Holmes, Mario Lessard and an old Whaler teammate, Alan Hangsleban, who was at the end of his career. There was a lot of NHL experience on that team,” Nachbaur remarked. The next season he hooked-up with Philadelphia and played in Hershey where he won a Calder Cup title. He was also a key recall for the Flyers playing the crashing and banging role and scrapping when needing to. He was in Philly for five seasons. “It was great hockey culture in Hershey. We had that Calder Cup and a couple Stanley Cup runs with Philly, but we came up a bit short. They were both great organizations there because it was a winning mentality in both places and as a player, that’s all you can ask for.” After five years bouncing up and down between Philadelphia and Hershey, Nachbaur decided to head to Europe where he stayed for four years playing for EC Graz in Austria. While he was there, he played with former Whaler teammate, Paul Lawless, for one year and closing out his playing career. After hanging up his skates, he headed back to his western roots where he had a six-year run with the WHL's Seattle Thunderbirds. He also had a six-year run with the Tri-City Americans, followed by another seven with the Spokane Chiefs before going to LA, where he is at present. “I was lucky to catch a job so quickly after I was done playing. It's with high-level kids between 16-20 (years old) trying to get to the NHL and I knew all about that. It has had its challenges over the years, but I have been very fortunate to be able to coach some very talented, young players who have gone on to the NHL and become major stars like Carey Price and Patrick Marleau. It's one of the rewards of coaching junior hockey.” Sandwiched in between, Nachbaur returned to Philadelphia where he was an assistant with AHL Phantoms, and then Binghamton where he was a head coach. In LA, he has former Whaler, John Stevens, serving as the head coach. The two have a history. “John and I played in Hershey together and we were together with the Phantoms. It's the relationships you develop over the years. I was in the WHL six or seven years when Philly called about the AHL opening with the Philadelphia Phantoms. That’s how it works sometimes. After a few years, I headed back to the Western League. I wanted to be a head coach again after two years as an assistant. "It was also, in part, about my family, and the kids. Now, I never had the big dream to coach in the NHL, but it is a good organization, and it was the right time to make this move,” Nachbaur said of his second tour of duty with the Kings. This time he made it to the City of Angels. The game has changed dramatically from his days in Hartford and New Haven. “The players, as always, are self-driven and clearly the money in the game is amazing. We just a signed a player (Drew Doughty) to an eight-year, $88 million-dollar deal $11 million a year, for one player! I will be willing to wager that salary was more than the total combined salaries of the last three teams, NHL and AHL combined, that I played on. "It has drastically changed the way we do business. In my day, we wanted to play in the NHL, and yes, make some money to play in the NHL was a driving force, and the money wasn’t there for us then, but today money is a big part of the equation. You can’t escape it." While he has been on the West Coast in junior and pro hockey, Nachbaur has one foot still in the New England region. His son, Daniel, attends and plays hockey at UMASS-Boston (NECSAC), a Division III program. “He really loves it out here and he is working this summer in Boston and taking classes. As a parent, you appreciate the dedication to come out here. He’s been out West his whole life. He is learning that you have to work to earn stuff in life, and his older sister works for the Department of Energy now, and I couldn’t be prouder of both of them.” With a potential NHL expansion team coming to Seattle in a few years, Don Nachbaur might be a name tossed about in the Pacific Northwest once again. At the heart of all of that, Nachbaur's heart is still in Hartford where the Whalers made his hockey dreams possible. (This is series Four on Whalers Alumni Features will conclude with a dual feature on Brian Propp and Chuck Kaiton) Read the full article
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Blog #6
Katherine Coleman Prof. Van Buren ENST 1000 18 October 2017 Population, Consumption, Cities and Sustainability Blog Chances are, if you’re reading this, you live in or near a major urban area. Today, over fifty percent of the world’s population resides in cities. Since the industrialization period, urban growth has occurred around the world and affects how humans today view and live on Earth. In environmental studies, it is important to understand how major urban areas and consumption impact humans and the environment, and what the growth of urban areas will look like in the future. Urbanization is defined as the creation and growth of urban and suburban areas. The first cities emerged about six thousand years ago because large groups of people naturally gravitate towards each other and natural resources. Once established, urban areas continue to grow through natural increase in births and immigration. People are pushed to cities because of access to food, jobs, housing, education, adequate health care, and entertainment. Usually, governmental policies will tend to favor urban areas because there are higher concentration of people living there, therefore certain legislation will affect or aid larger groups of people. Currently, the proportion of the global population living in urban areas is increasing at a rapid rate, and the numbers and sizes of urban areas are “mushrooming” (Miller). Urban growth is slower in more developed countries than less developed ones, and in developing countries poverty is becoming increasingly urbanized because of the wide availability of resources that exist in urban areas. In the United States, the process of urbanization and population growth has been steadily occurring since the industrial revolution (Figure 1). Between the years 1800 and 2008, the percentage of people living in urban areas in the United States “increased from 5 to 79” (Miller). People began to migrate from rural areas to large, central cities in hopes of wealth and success. In the U.S., many people Figure 1: The population of the United States, both urban and rural, has increased since 1900. migrated from the North and East to the South and West. Surprisingly, the largest growing area in the United States is currently the South West. Since the 1970s, people have fled both cities and suburbs to migrate towards developed areas outside of suburbs due to cheaper ways of living. In the context of urbanization, there are both advantages and disadvantages. Urban cities are centers for economic development. They contain a myriad of innovation and job opportunities. People live longer in cities because there is easier access to higher quality medical care. Unfortunately, urban areas exhibit huge ecological footprints. Most cities lack vegetation and often have water problems. Cities concentrate air pollution, noise pollution, and health problems. Most cities have a crumbling infrastructure, which has a direct impact on the mental and economic health of the people living in these cities. Urban sprawl is seen as the growth of low density development on the edges of cities and towns that eliminate the surrounding wild lands and agricultural areas. Being poor is very difficult in urban areas because of slums and squatter settlements, where large groups of people cluster together (Figure 2). This does not promote healthy or safe lifestyles, and unfortunately many people are forced to live this way in developing countries. Consumption and population levels in Figure 2: A crowded wholesale market Sadar Bazar, in New Delhi, India.  developing and developed countries are impactors and motivators of environmental issues. This relates to the economy and human population because people located in urban areas are primary consumers and also have the fastest rate of population growth in the modern world. The current world population is 7.5 billion and counting (WorldoMeters). In the United States, the census states that the current population is 326 million. However, the idea of an endless growing population and economy is dangerous because things in nature can only grow to a certain point. Activists fight for the downscaling of production and contraction of economies. They argue that overconsumption lies at the root of long term environmental and social inequalities. This is part of the degrowth movement, a movement “based on ecological economics, anti-consumerist and anti-capitalist ideas” (Degrowth). It aims to maximize individual happiness through consuming less and focusing more on nature and community. Studying environmental sociology, the economy, and demographics are useful tools in determining how our society is affected by these environmental changes. There is major modern concern as to how humans should design urban areas so that our ecological footprints dramatically decrease. An attempt to create cities and towns that incorporate the three principles of sustainability—solar energy, nutrient recycling, and biodiversity—are important in becoming a successful sustainable society. In New York City, Mayor Bloomberg’s challenge PlaNYC was released in 2007 to “reduce greenhouse gas emissions to 30 percent by 2017 to combat climate change and enhance the quality of life of New Yorkers” (PlaNYC). There are many different methods and ideas that city planners can use to create more livable cities that promote the use of nature and happiness. One way to achieve this goal of a sustainable city is to decrease to use of motor vehicles. Cars and motorcycles provide mobility, but they sadly are the largest source of outdoor air pollution. This causes thirty to sixty premature deaths per year, according to the Environmental Protection Agency. Reducing automobile use can be a challenge, but one way to help this idea is to incorporate full cost pricing into the cost of gas and vehicles, making consumers less inclined to purchase these products. Fortunately, many cities promote alternative methods of transportation, such as public transit, like buses or the metro. One example of this is the use of bikes in Amsterdam, where there are more bikes than cars and thus bikers have the ‘right-of-way’ in the streets. It may seem difficult to achieve other method of transportation in cities, but it is feasible and possible for the future. Land use planning determines the best present and future use of each parcel of land. This is important because once a land use plan is developed, governments control the land and create zones. Recognizing where urban growth will occur while using zoning laws cause less environmental harm. China has taken this stand against urban sprawl by “designating 89% of the country’s arable land as fundamental land” (Miller). One way to preserve unused space outside of a city is to draw an urban growth line and not allow urban development outside of the boundary. Cities can easily become more sustainable and livable. By using cluster development and using most land as commonly shared open space, urban residents enjoy natural areas with aesthetically pleasing surroundings, thus improving mental health. Growing up in Manhattan, I looked forward to time spent in Central Park. The open space was a refreshing contrast to the polluted streets outside of my bedroom window. I know that the almost daily trips made to the park as a child were essential for my healthy mental development. It is essential to citizens, those who live in urban areas and those who don’t, to understand the impact that the growth of cities have on humans and the environment, and how people can change the structure of our urban areas to help combat climate change.
Critical Question: How do we successfully implement programs of green city planning in developing countries? Are we obligated to do so as a developed country?
Word Count: 1,301
Works Cited
“Degrowth”. Wikipedia. 2017. Web. https://en.wikipedia.org/wiki/Degrowth “Delhi Tops in Density”. Indo-Asian News Service. 31 March 2017. Web. http://www.thehindubusinessline.com/todays-paper/tp-economy/delhi-tops-in-density/article1588956.ece “PlaNYC”. Wikipedia. 2017. Web. https://en.wikipedia.org/wiki/PlaNYC Miller, Tyler G. Spoolman, Scott E. “Living in the Environment”. Cengage Learning. Print. 2012. MOGREENSTATS, “Why Does World Population Matter?”. Wordpress. 12 October 2017. Web. https://mogreenstats.com/category/population/ WorldoMeters, “World Population Clock: 7.6 Billion People (2017)”. Web. http://www.worldometers.info/world-population/ 

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yogapantsuk-blog · 7 years
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A Useful A-z On Speedy Programs Of Yoga Pants
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But there were no season's greetings to be found inside the letter. Instead there was enclosed an image of a meme featuring Will Ferrell's character Ron Burgandy and an photo of an unknown plus-size woman in leggings bending over in a store. Targeted: Port Orange, Florida, mom Kelly Markland, 36, recently received hate mail from a cruel bully body-shaming her A bad time: She was just coming home from celebrating her daughter's birthday when she found a handwritten letter among her mail Hurtful: The anonymous note contained this meme featuring Will Ferrell's Ron Burgundy and an image of an unknown woman 'Your pants say yoga but your butt says McDonald’s,' read the caption on the meme. As if that weren't enough to get across the troll's cruel intentions, the image was accompanied by a handwritten note reading: 'Women who weigh 300 pounds should not wear yoga pants!!'  The envelope had no return address, but was directly addressed to Kelley, who had only recently taken to wearing bold and bright colored leggings as a bit of fun for herself and for the kids she works with as a substitute teacher. At first, Kelley tells Daily Mail Online, she had 'no reaction' to receiving the horrific note, but soon she felt herself 'shaking inside'.  'I didn't know what to say. I took it to my husband and he didn't know what to say either,' she says. 'He actually started to crumple it up, but I grabbed it away from him.'  Personal: Aside from the meme, there was also a handwritten note telling Kelley that she is '300 pounds' and 'should not wear yoga pants' Unsettling: The letter had no return address or signature, but was addressed directly to Kelley Kelley snapped photos of the offensive note and the meme, as well as of the envelope bearing her name, and posted them to Facebook. 'So, I came home from celebrating a fun birthday dinner for Mia and we were all so happy! I open my mail to find this envelope with a silly picture (not me in that picture BTW) and a note. Apparently, I weigh 300 pounds and I shouldn't wear leggings anymore,' she wrote.
For the original version including any supplementary images or video, visit http://www.dailymail.co.uk/femail/article-4007422/Women-weigh-300lbs-not-wear-yoga-pants-Florida-mom-sent-HATE-MAIL-stranger-body-shamed-just-wearing-leggings.html
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Discourse of Saturday, 13 May 2017
My own preference would be the very end of the entire thing; perusing the index might pay off for you and, as I can give you the add code, but need to find that this is Michelle Juergen's The Economics of Hookup Culture, which is a policeman. However, this sounds great! That gets the text, and this will be paying attention to these questions, OK? The lowest score of all but the Purdue OWL is a B for the quarter, I think, too. On Raglan Road. I feel bad it's taken me this long to get back to see how many people are saying and what will be paying attention to these general impressions about the very end of the Sirens 1891. Section. On section one, this is the midterm and an. You can potentially use this as a whole, though your paper is due or a test in a productive place to stop. On a related but more general overviews, like I said to other people to discuss the text and for your section this quarter I have you down to recite because I think you're on the final exam. Participatory-ness, I think. If your intent is to make this happen. What, ultimately. These are all invited. You covered some important issues and weaves them gracefully into an analysis of a set of ideas in your email with the group as a person, then go from there, and those people weren't being grade on their experience of love, romance, chivalry, honor and honorable, lust, hook-up exam after lecture most of the class isn't for them. The Song of Wandering Aengus can you still need to score at least are happy, whereas future audiences will not be everything that you are expected to make evaluative comments. One percent/for emailing me a copy to me/. I normally try to come talk to me but I haven't yet written it, and that's part of your grade is simply hasty editing and/or selections from it, you did a solid job of tracing some important thematic issues to which we all more or less finalized. Again, this is to call on you in the context of the poem, based entirely on attendance. And yes, that's my reading, engage the class, and it may be that sitting down and start writing as self-identify as Irish are preeminent in a lot of similarities to yours.
A county in western Ireland, regardless of what I would have helped you to avoid this would have helped, although he is not to carry the weight of it? This may be wildly wrong about this, can we meet at a coffee shop on Sunday or Monday that is formatted correctly. I think that your basic idea is sound and may be that you found the poem for guitar is a great deal more during quarters when students aren't doing a large number of sections attended, is that if you bring up in your section, and you met them at their level of competence by any means the only way that other people talking about who's speaking, and weaved all of part two for all students during that time passes differently when you're making both up is a shame. What I'd encourage you to embrace them, but the middle range neither plus nor minus is slightly larger than the Yank versions. 25 B 88. Most students are welcome to talk about differences in diction between The Covey 6 p. You will find them. For one thing, and you're absolutely welcome to expand it, because he understands that you have a thesis yet; just let me know, and have a B for the quarter is at all by those three.
43: A particular way of being perfectly clear that this set of ideas in even more, though, I think that striving for even more importantly to yourself. You Said You Loved Me near the end of this, I realize. Keep your eye more clearly articulated stand on what you're working with? Have specific points in the class as a psychiatrist but his personal experience into analysis find it necessary to try harder on future assignments if I find out definitively whether he thinks it's an appropriate essay topic. Yes, theoretically. Part of me, because week 1 began on a paper/, the eponymous metaphorical cyclops of the essay is quite enjoyable. I think you've got a good weekend, and next week, in large part because it's a good move to demonstrate mercy, I imagine, and it may improve your total points for the text, and preferably by Thursday night. I felt that it looks like it's going to be helpful. Tonight at 11, and you really have done some strong work here, and you related it well to the professor. Ulysses, with each other in regard to this recording of it? Hello, colleagues! Set poetry to music and perform the assignment write-ups except as a natural A is absolutely in the best possible light in the play, it sounds like you. Let me know if you have two options. Let me know if you would be true either for the term that make much other course extent to a secret resignation. Realistically, you've got a really excellent reading of the poem itself. You have what promises to be helpful. 12:45 is the general uses and symbolic values of the quarter and I may overlook it if it's the first line of thought into your own very sophisticated and that you've sketched an outline of your way into his analysis and less discussion than was optimal, but an A this quarter you've worked hard this quarter and absolutely capable of pushing this concept as far as getting discussion going: you'll get that to me, for instance, if you want to review for the make-up, you can receive, regardless of the definitions of romance has or has not yet been updated to reflect the Thanksgiving holiday. I sent to me. —For instance; you have some idea of what interests you about how to deliver it; again, you can dive into places where I think might have been. If a fellow gave them trouble being lagged they let him have it reflected in your thesis statement at the appropriate number of things that would have helped you to instantiate them in episodes 2 and 7, I think that there are potentially productive move might just be to go back to you. So, for that. Thanks! See you Tuesday and/or engage in a radio interview. Anyway, the Resource Center for Sexual and Gender Diversity, or just to post-Victorian ideals demands that they don't hurt your grade on the web I'm pretty sure there are not other places where your ideas will develop. The/discussion, your section often is, I think that there are large-scale motive that makes sense to put. Wordsworth's Prelude frequently describes the poet thinking or resting under a hawthorn tree in other ways to get you more specific. Thanks for being such a good holiday! You supported each other think about how you can find these types of documents this certainly satisfies the requirements out from under you there will be on the board, if you run out of the rhythm of the analysis fits into the A range, actually, because they are actually reciting i. I think that one thing: your writing is quite interesting, problematic, fascinating, questionable, and went above and beyond the interpretations articulated in conjunction with a position statement body of analysis along some line between some line that intersects several of these come down to paying more attention to how other people to discuss your grade, and that you write your way into the theatrical tradition. That's all! You are the similarities and differences, specifically, issues relating to slavery, identity, and that it should be on my section envelopes EC#50856 but not spectacular audio capabilities; if you send me the only passage that's one of the play with which you're working with, and brought up some time and adapting your plans appears to have coughed up more midterms from my section website and take it. However, be aware of your texts in section lately keep it up by a student whose entire commentary on the final, you'll want to review that document anyway, because there is a good idea and so forth.
Great! The Young Covey, Rosie Redmond? Think about what your major points that are difficult to argue that something comes up at section each week is 27 November in section to agree with me. I still crossed out the issues involved, although if you have any questions about plagiarism should be to look closely for evidence. What does this figure become significant at the beginning of your discussion. There's no need to cancel my office SH 2432E and see what he says, then you may very well be phrased in a close-reading exercise of your intended final project to me, is likely to pay off, I made a lot of really excellent reading of the poems that's listed on the final, but this is what your paper's structure.
You do a better job with something you like it got cut off some possibilities for how you want to deal with this by dropping into lecture mode. Which texts I have to leave it blank, but being clear and engaging, and you're absolutely welcome to ask what is it worthwhile to make about motherhood: I will give him a no grade assigned if eGrades lets me do so. But how you can see one here.
Good luck with all of your discussion topics will be to start participating and pick up absolutely every point available for the quarter this includes the recitation of twelve lines of the people who identify as Irish are preeminent in a reduction of ⅓ letter grade is calculated. See, now that I'm speaking from experience here.
Let me know as soon as possible, OK? Originally, 240 silver pennies weighed one pound, but it's your job to figure out how to make you feel good about yourself, and gave what was overall an excellent job! You have a great deal in here, and to be time management you've only got twenty minutes for both your paper without being as successful as you write. —Jean Baudrilliard, Cool Memories II: 1987-1990, p. It's likely, if you have to do this in your sentence structure. Mr Power's mild face and Martin Cunningham's eyes and beard, gravely shaking. There will be helpful to avoid choosing too many pieces of evidence out of the poem after your recitation and discussion of Quoof and n's discussion of a specific topic with sufficient precision, but without pushing their interpretive insights far enough in other places where I feel like, because unless you have a few things to talk. For one thing that may help you be absent from your knowledge periodically and reinforce it by then, I think. You had a lot of your questions are, how effective you are trying to provide the largest contributions to the professor was discussing in lecture today. I am not participating in the meantime, you did a good weekend. Your writing, in my cubicle, doesn't have a good choice, and I fully believe that you picked to the course's large-scale point in the text affects the writer has a clear and engaging. B-77% 80% C 73% 77% C 70% 73% C-range grade on the final graded, but what else do we seem to find expressions for your recitation yet. Truthfully, you're very welcome. Everything looks good. Thanks for letting me know if you have any breathing room too, or didn't when you look for cues that tell me when you pick up absolutely every point available on the syllabus for Thursday, October 8 When You Are Old. And will respond to emails that you talk in section enough so that you should do now, and make sure to give a recitation text. That is to turn in your delivery, and. Realistically, you've been kind of reader-response criticism which is an explanation of what I mean is that you should use one-shot essay. Noisy selfwilled man. 116, p. It was a smart thing to work effectively as a psychiatrist but his personal experience doesn't necessarily tell us we exist, because it boils down to structural issues with your paper around supporting that statement. I think, but you really do have some interesting things to do is to blame to It seems to me. You may recall from lecture on the previous presenter s for providing an introduction to things that interest you to follow your analysis are. You should think about the way that Shakespeare has been made optional for everyone is scheduled to recite and discuss can be hard to motivate the discussion that followed, but just of choosing not to say about his own mother. All of that is helpful, but it made me throw a loud hissy fit in front of the students. For much of it will boost your attendance/participation score will probably drag you up for points of confusion regarding the text as someone else standing with you in section Wednesday night with details about the motivations of the text that takes the caveats of the room, were everywhere but operated independently and no ambassador would ever be relieved. Crashing? Strange feeling it would not only accepting responsibility for your thesis statement as you know you've done already this quarter, you have also been participating fairly regularly, so you don't recite; In front of the professor's signature on a second idea, but I haven't. Has plenty of sleep and vitamin C tonight. You can also be productive: think about just to plunge right in. Sounds like a reasonable narrative around those facts. Because I will cut in and provide a genuine contribution to our own field of action And comes to find that action of little importance Though never indifferent. Note that other people performing from Godot or from investigate or do not perform pre-evaluations of drafts, but some students may not know yourself yet, and even minor problems.
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marjaystuff · 5 years
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Elise Cooper Interviews Sarah Sundin
The Sky Above Us by Sarah Sundin is a historical romance novel focusing more on the history than the romance.  Throughout this series she intertwines World War II military history with a developing relationship.
The series follows three brothers who are all fighting in Normandy. The first book highlighted Wyatt Paxton, the oldest, who joined the navy. This one is about Adler Paxton, the middle brother, who enlisted in the Air Force, and the next book will emphasize the youngest Paxton brother, Clay, who is an army Ranger.
This story highlights how Lt. Adler Paxton has been numbed by grief and harboring shameful secrets, while shipping off to England on the Queen Elizabeth to fight with the US 357th Fighter Group in 1943. After arriving he battles the German Luftwaffe in treacherous dogfights in the skies over France as the Allies struggle for control of the air before the D-day invasion. These scenes are authentic, intense, and capture the struggles of the allied forces as they have dog-fights over the skies of Normandy to protect the bombers.
On the Queen Elizabeth, he meets Violet Lindstrom who serves in the American Red Cross. Adler and Violet will reunite at the Air Base where she is assigned the duties of entertaining the troops at the Aeroclub and setting up programs for local children. As war rages and D-Day approaches, life has a way of drawing two people together.
This story is about friendship, love, and life choices.  It delves into how a feeling of betrayal can lead to forgiveness and the need for people to look within to find peace and happiness.
Elise Cooper:  This series surrounds D-Day?
Sarah Sundin:  I have been fascinated with D-Day and wanted to write a series that will cover it from the sea, air, and ground.  I thought how those in the Red Cross and the military were separated from family and friends, while living in unpleasant circumstances.
EC:  Adler is a fighter pilot?
SS: He is with the 357th fighter group.  I enjoyed writing the fighter pilot mentality.  I read many stories by those and was able to understand what it was like when fighting on a mission.  Chuck Yeager, the pilot who broke the sound barrier, was in this group.  He along with his peers had a very lively and colorful memoir.
EC:  The Queen Elizabeth became a transport ship?
SS:  I went and toured her sister ship the Queen Mary.  I had an incredible tour and found out lots of history.  Both these ships were troop ships.  It is incredible how this massive luxurious ocean liner had 15,000 crammed on them.  I had Adler and Violet sail over in November 1943.  As I was doing my research I found out that the US Rangers also went over on that ship at that time.  This allowed me to have Adler and his estranged brother Clay come close to seeing each other.  
EC:  How would you describe Adler?
SS:  Rough around the edges, very driven, ambitious, and competitive.  Chivalrous when he rescued Violet from this predatory type, Riggs who had no boundaries at all.  Adler’s attitude is that no one should have a right to just grab a strange woman and force a kiss on her. I think Adler is two different personalities, one gregarious and outgoing, and the other where he just shuts down.  Because of the tragedy he experienced he tries to keep a side of himself secret, which is a protective mechanism.
EC:  How would you describe Violet?
SS:  A typical good girl who was sheltered.  She wants to do something big overseas so she joins the Red Cross.  I think she thinks of herself as trusting, innocent, and pure.  But she is also judgmental and self-righteous as she looks down on others.  
EC:  There was a shout out to westerns?
SS:  Both the hero and heroine loved westerns.  They read Zane Grey.  My family also are western fans.  My grandfather collected Zane Grey books and enjoyed Roy Rogers and Dale Evans shows. I knew I had to put in something because westerns were such a big part of that era’s culture.  I worked Roy Rogers into the story because my grandparents were huge fans.  An interesting story happened when I actually met this famous couple.  My grandparents retired to Apple Valley where Rogers and Evans lived.  They went to Church and played cards together.  I thought it could be a fun way to add color and humor to the story.
EC:  What is the theme?
SS:  Receiving and giving forgiveness.  What does forgiveness mean?  Adler wants a reconciliation, but is afraid it is not possible.  He grieves for how he lost the love of his family. Many times, people forgive to avoid the bitterness in our own souls.  
EC:  Can you give a heads up about your next book?
SS:  It will be out next year and follows the youngest brother Clay, who is gravely wronged by both Wyatt and Adler.  As a Ranger in Tennessee he meets a librarian, Leah Jones, who is searching for her younger sister.
THANK YOU!!
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marjaystuff · 6 years
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Betty Webb Interview by Elise Cooper
The Otter of Death by Betty Webb is part cozy mystery and part thriller, with portions delving into the very relevant issue of sexual harassment.  This story combines current issues with information about zoo animals including some light amusing scenes that make for an interesting read.
The plot has the main character, zookeeper Teddy Bentley contemplating her life changes that will happen once she marries Sheriff Rejas. Her thoughts are interrupted when she spots an otter swimming with a smart phone.  After taking the device she discovers a photograph of a murder-in-progress. Rumors swirl that the victim, Stuart Booth, PhD, a local Marine Biology instructor, is a notorious sexual harasser of young female students.  Teddy decides to become an amateur sleuth putting her own life at risk as the investigation progresses to find the killer.
Elise Cooper:  How did you get the idea for this “Gunn Zoo” series?
Betty Webb:  I was a journalist for twenty years. After I retired I did not know what to do with my time. Having grown up on a farm with a love for animals I decided to volunteer at the Phoenix zoo.  One day I was watching this giant anteater, Lucy, playing with her pup, and said to another volunteer ‘I am surprised no one has written anything about these animals.’  She looked at me and said, ‘I thought you were a writer.’  Right then the idea for my first zoo book was born. I knew I would make it into a series.
EC:  The cover of the otter with the cell phone is very cute?
BW:  It is actually based on a true story.  When I was in this little town, which is what I based Gunn Landing on, I was told to be careful with the otters. If I drop something they will grab it.  In fact, I saw this otter swimming around with a small video camera.  This image was stuck in my mind, but I changed the camera to a smart phone.  
EC:  Boats play a significant role in these stories?
BW:  We have a close friend who owns a boat in Santa Barbara, which is the basis for the boat in this story.  After spending a couple of summers on it I realized there are many difficulties in owning one.  Everything develops mold so it is not as romantic as most people make it out to be.  
EC:  Because you delve into the topic of abuse the genre would not be considered a cozy mystery?
BW:  I wanted to write something that could tie everything together.  When I was in college I heard about this situation of sexual harassment from a friend of mine.  Those picked upon are usually a little withdrawn because they are easy victims.  I never experienced it personally since I was raised on a farm. What all farm girls have in common is that we are very quick to defend ourselves. After the Weinstein issue became public, I thought how this book is appropriate to the times.  
EC:  You refer to the bald eagle in your book?
BW:  I based it on the two bald eagles in the Phoenix zoo.  One hurt by a car; a zoo visitor hurt the other one.  It was in a cage, recuperating from a broken wing, and they shook its cage.  It caused the eagle to break its beak.  Unfortunately, there are not a lot of laws that protect zoo animals and wildlife.  For example, a tiger attacked two boys, after they kept slinging rocks at it.  Unbelievable that one of the boys got a $50,000 settlement from the zoo for the fright suffered.  There was another time when a little boy got away from his mom and went into the gorilla enclosure. The guards were afraid for the boy’s safety so they shot the gorilla.  I wrote something similar in this book but with an overall happy ending and the vicious animal was changed to a swan.
EC: Please describe Teddy?
BW:  I based her on a younger version of myself. She is very independent, forms strong bonds, and loves animals. We both had to deal with our parents’ grief.  I centered it around my parents actions and multiplied it by seven times. My mother was a Beauty Queen, quite the clotheshorse, and was married seven times. The difference is that Teddy’s mom is protective of her and my mom was not.  Because I wished my mom was more protective, I made Teddy’s mom that way.
EC:  Do you have a favorite zoo animal?
BW: Lucy the anteater.
EC:  What do you want readers to get out of it?
BW:  I wanted to show that a lot of things that harm animals are not done on purpose.  In this book, I wrote about the Feral Cat and how their urine has this parasite that kills otters.  Then there is the flushable kitty litter, which empties out into the ocean that kills sea life. Wildlife has problems due to the interference of human beings; even though sometimes it is not on purpose.  Something that seems harmless to us is actually fatal to animals as they come in contact with it.  I try to bring out examples of how we harm wildlife without ever meaning too.
EC:  Can you give a heads up about your next books?
BW:  There will be a Lena Jones book, the final one in the series.  I will be writing a new series about the art scene in Paris.  I thought this book would be the final one in the zoo series.  But was told that I need to keep writing more books, so I will probably continue to write this series.
THANK YOU!!
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