#"2016

[digitalfountains]

Laurel Witt by Gavin Glave

- Yume Magazine, 2016

[gia-batmm-crickle22]

Redrawing this old art I made of Genderswap Broppy back at 2016 (Broppy and Trolls Fan since the beginning!! :D)

Here's the redraw of Brianna and Polo (both pre-movie and post- first movie)

Broppy/Brolo :3

[zegalba]

A displaced Iraqi woman holds her cat, Lulu, while waiting for transport in the Iraqi Kurdish checkpoint village of Shaqouli after she fled her home with her children on November 10, 2016.

[homestuckheritageposts]

Homestuck Heritage Post

*john mulaney voice* you know how some webcomics have like a dip.. in the middle. you’re like hey homestuck is over! no it’s not. ….there’s more

[luxforlifexo]

irl bratz doll 🐆🤍💋💄

[rdjandtomholland]

2016 → 2017 → 2018 → 2024

[vintagedollrina]

tumblr girl fall 🎃🍂🥧

[unreesonable]

Just wanted to add for those interested... Here's the 1983 film version of The Dresser on YouTube, where Norman is played by Tom Courtenay (who originated the role) and features Eileen "Nurse Kentchington from Psychoville" Atkins as Madge. Here's the 2015 TV movie version with Ian McKellen as Norman. (Madge this time played by Sarah "Betty Blue Eyes" Lancashire) And the 1993 Radio 4 audio drama with Michael Palin as Norman.

i want to share some highlights from this very detailed & glowing review of reece's performance in the dresser (2016-17) – wish i could have seen it, but this person's descriptions almost make me feel like i did

also makes me wonder if urban was in any way drawn from this character. he sounds like a total heartbreaker

He anchors Norman’s multifarious elements (his fastidiousness, discretion, waspishness and campness, the role of confidant and carer) and his manifesting emotions (bitterness, resentment, anger and despair) in the finely detailed, choreographed physicality of his performance, with beautifully precise gestures, posture and changing countenance. Each fleeting facial expression gives something away and the “soulful eyes” of Norman are reflected in the twin pools of sadness that Shearsmith summons from his own eyes.

[...]

There are many traits to this man and one elicited from the dualism in Shearsmith’s performance is Norman’s need to conceal, to be in control, closed-in, guarded. This can be seen in the physical detail of his slicked down short hair, in the bib apron that sheaths him, in the fastidious way he mans his domain and serves his master and in those glimpsed moments in the dressing room and as he stands in the wings silently watching Sir on stage, where Norman seems to shut down, momentarily lost in his own thoughts. These carefully delineated components in Shearsmith’s portrayal produce a feeling of a life having always been lived on the periphery and in the shadows.

[...]

Shearsmith’s creative decision to foreground Norman’s campness in his portrayal – through gesture, a fluidity in his body language and an exaggerated tone to his voice – reinforces the idea that performance is a form of protection for Norman. Camp is heightened behaviour, in which ostentatiousness and artifice are used to form an impression of command and being in control. There is a dynamism and energy associated with camp which Norman uses to bolster his position and own sense of usefulness and importance. Amplified energetic endeavours –  he keeps himself busy and immersed in activity – are a distraction from his fraying inner doubts and done to try and convince himself that he is indispensable to Sir. There is such energy and drive to Reece Shearsmith’s performance in Act I – the liveliness and forced cheerfulness (“It’s a disease…hopefulness” as Madge terms it) he gives Norman is discernible and striking. You really get a sense of the desperation behind it and the feeling that the dresser is not only trying to rescue Sir but also save himself.

[...]

Norman has the full spectrum of co-dependency symptoms: Seeing oneself as indispensable to the care receiver; a tendency to become hurt when their efforts aren’t recognised; an exaggerated sense of responsibility; an extreme need for approval and recognition; a fear of being abandoned; chronic anger and feelings of inadequacy. These elements resonate powerfully as the dresser increasingly falls apart during the second act.

[...]

Over the course of the play Sir censures Norman harshly several times, reminding him of his lowly status, that theirs is a master-servant relationship based on the dresser’s servitude. When Sir fails to praise or even thank him backstage during the interval breaks between his performance of King Lear, when the dresser is desperately seeking it the most, the audience watches as Shearsmith (as Norman) almost visibly crumbles, his face registering desolation. The climax of the play unleashes a deluge of emotion from Norman. It is what the relationship between Sir and his dresser has been leading up to. Shearsmith’s performance scales new heights of artistic brilliance as the crushed dresser’s fragile facade shatters and a torrent of feelings – anger, pain, bitterness, outrage, regret, distress – come pouring out. There is such a truthful, natural force to the way he expresses Norman’s damaged, broken sense of self that it is truly devastating to watch. One is hushed, mesmerised and completely transfixed – it feels like a cry from the heart that speaks to anyone who has given everything to someone and had nothing back in return. The intensity of emotional commitment from Shearsmith is so grounded in honesty, sincerity and pure truthfulness that there’s not a trace of actorly artifice on show. It is as if he is experiencing Norman’s pain for real as he faces the traumatic realisation that he has given sixteen years of his life and is now alone and left with nothing. So forceful is that final, emotionally gut-wrenching scene in the dressing room that it becomes Norman’s storm – to match and equal the one in King Lear – such is the outpouring of rage, emotional potency and heartbreaking poignancy in Shearsmith’s acting. The first time I saw him perform this scene it left me feeling overwhelmed and completely stunned. It was simply an extraordinary moment in the theatre for me, witnessing an actor give of himself to that extent.

i am leaving in some extremely high praise here because i find it very evocative, but i'm cutting out even more, which you can read in the original post. this author is definitely biased by being a fan and clearly in love with reece, but i also 1000% believe that his performance was that good. (because i too am a fan and in love with him)

[plains-flora]

may 10, 2016

[miamaimania]

Threads of Transformation ➤ 'Conversion' by Kim Westfall, 2016. Vibrant acrylic yarn woven into a tapestry of emotional rebirth.

[eroticlamb]

Samantha Robinson behind the scenes on the set of ‘the love witch’, 2016 ♡

[leavethisbluetheneighbourhood]

[epellucid]

via

[zegalba]

Luna Lu: 'The Anatomy of a Hug' (2016)

[classichorrorblog]

Terrifier (2016)