#American players theater

[laurelroadpoetry]

Fall time in Wisconsin.

[electricfox]

Went to go see Much Ado About Nothing at APT today!!! The play was wonderful but it was so, SO hot out so I was sweating by the end.

My favorite characters were probably Benedick and Beatrice, I loveeee how their actors portrayed them and their relationship ^_^

[irisbleufic]

REVIEW

Gatsby: An American Myth (Welch, Chavkin, Bartlett, Majok, & Tayeh; American Repertory Theater)

Something that most adaptations of Gatsby get wrong, whether film or stage, is the treatment of characters as archetypes rather than individuals. Symbolism drowns out most genuine attempts at capturing emotional connections and conflicts of personality. They forget that this story is not only a failure of the so-called American Dream; first and foremost, it’s a tragedy of failed roles and relationships. Almost every one of the players is attempting to be someone they are not, and even as they reach for what they believe they should want, they reveal with increasing fervor what they actually want. This is the heart of what makes Welch’s new adaptation so devastatingly, disarmingly unique, so true to its source.

The set design is literal wreckage. Crushed and warped automobile chassis scaffold the moving staircases, and concealed trap doors. The backdrop shows no clear incorporation of the infamous Eckleburg billboard; rather, it is made up of a dotted grid resembling headlights. These play out effects ranging from a downpour to camera flashes to, briefly and only once, a pair of eyes that make no effort to hide behind the owlish frames of glasses. The only thing infusing this jagged framework with meaning is the people who move through it.

The lighting design works with the set’s incongruences, deepening or excavating shadows as needed. The brightness, when it flares, is blinding. Jewel tones either enhance or diminish a costuming scheme that is composed of either very pale or very dark shades, no in between. And whether it’s the post-apocalyptic black and gray cabaret garb of the ensemble or the wealthy protagonists’ pale suits or the gunmetal and gray denizens of the wasteland, everyone’s trouser and skirt hems are conspicuously rimed with reddish dust. The visual effects are nearly impossible to describe without sounding like I had some kind of desperate fever dream.

So far, I realize that these descriptions of the set and lighting design sound like this production is about to fall into the trap of overplaying symbolism, but please bear with me. With all of that established, I can focus on what’s truly extraordinary here, what’s meant to and does shine unhindered. The acting, musicianship and vocals are all so precise that it was hard for me to believe this show is still in previews. It feels Broadway ready, West End ready, major international tours ready. If I was the production crew, I’d turn this loose on a massive scale from the get-go without a second thought.

Much like with Hadestown, the musicians are not down in an orchestra pit. They’re characters in their own right, present on the stage from start to finish on tiered risers that run up from the center on each side from one of the catwalks. I’m sure Chavkin’s involvement as director has everything to do with why this show feels so much like, moves so much like Hadestown. The company is on an equally small scale, about 23 - 25 people including the principals.

Costuming among the ensemble is delightfully gender agnostic. I mention a cabaret aesthetic earlier in this review, and I’m not kidding. If you had shown me the ensemble costume designs without showing me the principals’ designs, I would have assumed I was looking at a Cabaret revival. They’re the most talented dancers I’ve seen occupy one stage in more than a decade. The choreography relies on movements in eerie unison for a significant portion of the show, but not without allowance for individual flair within those constraints. The guy sitting next to me, when I spoke to him at the intermission, said he works as a choreographer in regional theater, and he’d never seen anything like this. I couldn’t agree more; the dancing is singular, and as impressive as the musicianship is, the dancing and unusual body movement are maybe the greatest achievements of this show on the living, breathing end of things. I could have watched the dancers for those three hours without any dialogue or vocal intervention and still understood the story. That takes so much fucking doing.

As for the principal cast, they’re constantly among the ensemble; when I say these are all triple threats in the purest sense of that terminology, I really mean it. You always expect a few of the principals to be less dance and movement focused, more polished on the acting and singing side, but this show gives you terrifying proficiency from every angle. Even the guy playing Meyer Wolfsheim is at the center of what I think is the most memorable dance number in the piece. I’ve just never seen such versatile principals all in one production. What’s even more extraordinary is that I had never heard of or previously seen any of them, and that takes some doing given how much live theater I’ve consumed in several decades of life.

Ironically, the musical composition is the one aspect of this production on which I’ll be spending the least time. I need not tell you why Welch and Bartlett were perfect for this job. They understood the assignment, and then some. There’s not a single weak number among the track listings, and I desperately hope they release a recording soon. The standout numbers all have something in common: they showcase Soleia Pfeiffer as Myrtle Wilson. You can tell that’s the role where Welch sank most of the sound that’s considered her signature style. I don’t even need to describe it; you already know what I’m talking about. What’s impressive otherwise is the restraint, the lack of over-reliance on that signature style.

The principals are fucking perfect. I’ve kept this review tautly professional without meaning to thus far, but from here on out is where I start bleeding feels all over the post. If you don’t already know who my blorbos are due to my writing history with a Gatsby-related novel (The Pursued and the Pursuing, 2021), you’re going to know by the time you’re done reading this. You’re going to know exactly who I love and why, who I hate and why, who I ship and why. But you’ll also know that I approach all three of those elements from a place of enjoying every moment of those characters, even the ones I hate. Nobody’s performance put me off or struck the wrong tone when taken in context of the novel and how the tragedy of how their relationships play out.

For a long time, I’ve been saying that there are certain support roles, certain sidekicks, that make or break the higher-profile person to whose side they’re stuck, ride or die, until the bitter end. Horatio is a great example that I’ve ranted about before; if your Hamlet production has a lackluster Horatio, then it doesn’t matter how good the Hamlet is. You have nothing if you don’t have the binary star system at the heart of that harrowing universe. I’ve seen other adaptations of Gatsby consistently fall apart because Nick Carraway is treated like the kind of voyeur who doesn’t matter, the kind of voyeur who serves as the audience’s eyes and ears, and nothing else. Anyway, this is all to say: Ben Levi Ross as Nick might be the most compelling argument I can make for the fact that the creative team behind this show understood the assignment. He’s awkward, warm, sincere, and reactive in all of the ways you need Nick to be. He’s not a passive observer; he’s in the middle of everything, and he knows it. There’s a self-deprecating response he makes when one character, Jordan if I’m not mistaken, quips that maybe he’s the reason for Gatsby’s parties for all he knows. “Maybe I am,” he says, and the tongue-in-cheekness belies a gutting meta-sincerity. We believe Daisy is the point, Gatsby believes Daisy is the point, but what’s borne out every breathtaking moment of this production is that Nick is the point. He always was. He’s also given his due as a gay man in context of the story for the first time ever. I might make some folks mad when I say Nick has always been gay; I’m going to point you to Myrtle’s apartment party and the hookup with Mr. McKee as textual evidence in the novel. The kiss with McKee, the hookup with McKee, is unapologetically here. His lack of belonging everywhere else he’s ever been, because he is gay, is unapologetically here. One of the most memorable numbers in the show hinges on the hope feels at being able to be himself in New York. Queer fans of Gatsby have been waiting a long time for this. Anyone who’s read the text closely and understood him has been waiting a long time for this. I’ve been waiting several decades as a reader, and I would’ve waited forever to have Nick so fully, lovingly realized.

One of the other things that Gatsby adaptations have persistently gotten wrong is the titular character himself. The invention of Jay Gatsby hides the underlying James Gatz, makes it feel as if that old self is truly subsumed, as if it never mattered. But Isaac Powell gives us a Jay who’s exactly as he should be, who can’t hide beneath his own attempt at artifice and reinvention worth a goddamn. He’s young (as young as Nick; they’re 32 and 30 respectively both in the novel and here), painfully earnest, and just barely keeping a handle on the criminal shit he’s had to do in order to get where he is. When he says old sport to Nick, it’s not an affectation; when he says it to Tom, it becomes a biting insult. This is a Jay who knows where and why he’s vulnerable; he latches onto Nick like a not because he sees a man close to Daisy that he can exploit, but because he sees another young man who’s equally vulnerable, equally an outsider, equally haunted by the things they had to do in the war. From the moment they meet, they are almost always touching—a hand on the shoulder, on the back, getting in social harm’s way for each other, eyes seeking each other without cease in the most crowded of settings. When Jay takes Nick to lunch to meet Wolfsheim (who has in this production taken on the function of Dan Cody as well), it’s not to have somebody else vouch for the artifice of who Jay Gatsby is. It’s taking Nick to meet his fucking father-figure, and all of the messy, sincere “if you hurt my boy, I’ll kill you” sentiment that Wolfsheim aims at Nick was the moment I knew just how much the Nick’s loss by the end was going to hurt. Jay’s love for Daisy is a ghost of itself, even if as painfully earnest as everything else about him. Meanwhile, his attachment to Nick is so disarmingly genuine from the start that you understand the true tragedy you’re about to watch untold: these men who need each other, maybe even were made for each other, each prove unable to step outside their parallel distractions from what they truly are to each other. Jay’s interactions with Daisy and Nick’s interactions with several male and/or gender ambiguous members of the ensemble have something in common, which is a shocking level of physicality. This show had an intimacy coordinator; that’s the level of no holds barred we’re talking about. When you look at Tom and Myrtle, you can see why that was merited, too.

Speaking of Tom (Cory Jeacoma), the treatment of him here is every bit as scary as it should be. There’s no attempt to make him palatable, unlike what I’ve seen done with him in other adaptations. He towers over everyone else in the cast, I mean everyone, to a physical degree that’s uncomfortable. The way his wife, lover, and friends all flinch when he gets too close to them speaks volumes to the fact that he’s an abuser in every sense of the term. Even Nick, the prodigal college friend from Yale, is on eggshells around him (which, by the hotel blowup at the end of the show, becomes a sneering, reckless contempt, one of the driving forces that drives Nick to put himself between Jay and Tom whenever real harm is on the table). At the same time, this is a Tom who sincerely loves his wife and was only ever using Myrtle as a fling. You can tell he never meant any of the promises he made Myrtle. When Daisy tells him she didn’t stop the car on purpose, it’s as if his wife’s unapologetic act of manslaughter (“It was her or me!”) is the thing that wins him back. They aren’t careless people; they are people who consciously choose, day in and day out, to use others until they’re bored or done with them. The ruthlessness of Tom and Daisy as a couple is impressive, played up to a level that I feel more adaptations should do without fear of exaggerating the text.

As mentioned above, Daisy (Charlotte MacInnes) is no delicate, nervous creature who can’t help her actions under duress. She knows what she’s doing every bit as much as Tom knows what he’s doing. They use people, hurt people because they get bored and restless and enjoy it. I respect a Daisy who’s in control of her actions every step of the way even if I don’t like her; it’s better than trying to depict her as weak and at the mercy of the men around her. She’s a pragmatist and a survivor. So many of her songs are about choices and being conscious of those choices. She is a person you should fear every bit as much as you fear her husband, and even Jordan knows she’s not safe in Daisy’s orbit.

As Jordan, Eleri Ward is one of the neatest personalities on stage. Like Tom, she’s noticeably taller than most, which gives her a commanding physical presence. She has no romantic interest in anyone; I fucking love that this production show her and Nick bonding on the basis of being queer and tired of everyone else’s shit. This is a more likable, relatable Jordan than I’ve seen in the past. This is a Jordan whose relationship to Gatsby is much more familiar and warm, much more akin to the friendship she forms with Nick. In fact, the queer-and-tired vibes that roll off several of the principals in this production are palpable.

Myrtle and Wilson (Matthew Amira) aren’t always played as effective foils for Daisy and Tom, but here? They unquestionably are. They do actually love each other in spite of the things they’ve done to hurt each other, and it’s a constant dance of daring each other, challenging each other. The most memorable duet in the entire show is between them, during Act II. The confrontation is positively electric. These are two people with deep, complicated history. Of all the couples in the show, they feel the most real, the most alive. It makes the loss of Myrtle so much more wrenching; she’s not just a plot device emblematic of the bad choices they’ve all been making. She’s not shallow or frivolous or anything like that. She’s a shrewd woman with complex motivations, and for the first time ever I find myself loving her and caring what happens to her. She’s thrust even further into the action in that one of her part time gigs is working as a maid at Gatsby’s parties, a conceit that works shockingly well and hastens the devastating consequences of her affair with Tom.

I’ve made mention of Meyer Wolfsheim’s (Adam Grupper) uniquely enhanced role previously, so I’d be remiss if I didn’t comment on him again. This is a man who does, in fact, seem to give a shit about Jay above and beyond using him as a tool in his criminal empire. It’s not necessarily a healthy father-son dynamic, but Wolfsheim is usually played as ruthless, opportunistic, inhumanly calculating. Here, he’s a charming, but unquestionably dangerous man moved by a young soldier’s plight. He seems conflicted between his love for Jay and his need to have Jay continue to hold the party line within their business relationship. Wolfsheim is deeply conflicted about Jay in a way that I haven’t seen any Wolfsheim be played previously. And, as I mentioned earlier, the actor has a showstopper of a song and dance number. That may be the #1 “I wasn’t expecting that, but I’ll take it!” moment for me in this show. And I say “may be” only because the moment that truly stopped my heart, will stay with me until everything else fades from memory, is perhaps only understandable in the context of my engagement with the text of Gatsby as a writer of transformative works.

Daisy’s and Tom’s daughter, Pam Buchanan doesn’t always appear in adaptations because she’s a toddler. Even in the novel, she a throwaway mention plus a single scene near the end where the nanny brings her out to meet Jay and Nick. She’s most often left as a throwaway mention without even grave of the scene where she appears. The scene in the novel, however brief, is memorable—and has been captured in all its fragile beauty for the first time in this adaptation. Jay and Nick both pay bewildered, wondering attention to this kid when she’s brought out. Jay drops to his knees and takes her hand when she greets him while Nick looks on in a moment of singular focus on both of them. The child who plays Pam here has a spark, an expressiveness that made me choke up even though she’s only on stage for a few minutes, if that. The tableau is one in which you can feel the shock of reality, however brief, touch on these men—Daisy’s and Tom’s reckless actions may yet do harm to someone who’s barely even begun to live her life, but who is just conscious enough to be a participant in it. They recognize that they, like this child, are probably in for a word of ruin—and that they have let it go on for so long that there’s now nothing they can do about it. For me, the deepest tragedy was watching Nick and Jay throw off that moment of heartbroken, horrified recognition prompted by Pam and return to the parts they’d decided to play out until the moment one of their hearts stopped.

Speaking of grief, of Nick’s grief since he’s the one who loses so much: there is only one person who loses more, and that’s Mr. Gatz, Jay’s father. They preserve his arrival at the house when Nick is the only person who stays around to carry out Jay’s funeral and burial. And when he arrives, the visceral shock of seeing his dark skin, braids, and beaded elements of Native regalia in juxtaposition with his otherwise period-typical Western garb underscore the tragedy of what young Jay was running away from, of what he never quite succeeded in erasing from himself. The burial scene shows Nick reverently bringing several of Jay’s folded shirts from the house and handing them down into the grave to Mr. Gatz, who places them reverently as possessions to accompany his son into thereafter. The cultural ramifications are all at once understated and devastating. Nick has moments with each of Jay’s father figures that are among the most complex and moving in the show. The program does not make clear the name of the ensemble member who takes on this most memorable of all Mr. Gatz appearances, and this erasure in and of itself is both unfortunate and telling. This is a world that never belonged to the majority of those who inhabit it, and Nick realizes it with heartbroken clarity after having this final interaction. Even though he’s an outsider, he’s part of a world that has erased and betrayed the man he loved so much at every turn.

The closing number, “We Beat On,” felt like it needed something more, but it utilized the final line of the novel to a deeply moving effect. The lights go down suddenly as the last word is sung; it feels like the song is half finished. When the lights came up, Nick and Jay were center stage in each other’s embrace, just withdrawing from each other as the entire company transitioned into final bows. That’s how I’ll remember them, always: touching even when they’ve already lost each other, borne ceaselessly back into each other’s arms. If Nick is Orpheus, then I have no doubt that he, too, will tell this story again and again until someday, somewhere, something gives.

[meazalykov]

halloween costume

laura freigang x actress!reader

summary: while going to a party with your fiancee, she starts to tease you about a reoccurring event

the sound of laughter and chatter fills the air as you step out of the car, hand in hand with laura. 

the crisp october air nips at your skin, but the warmth from your fiancée’s presence makes it bearable. you squeeze laura’s hand, flashing her a grin as the two of you approach the house where one of her teammates is hosting the huge halloween party.

"are you ready?" laura asks, her german accent smooth as ever, a playful smile tugging at her lips. 

she's dressed as a pirate, a leather vest hugging her athletic frame, a bandana tied around her dark blonde hair.

you’re dressed as a pirate as well, nearly identical to laura. 

"i think the real question is if you are," you tease, tugging at the collar of her vest. "after all, you’re frankfurt’s football star here. i’m just here for the snacks."

laura chuckles, eyes sparkling as she leans down to press a soft kiss to your temple. "you’re way more than that," she whispers, and you can’t help but blush a little. 

the party is packed, as expected. frankfurt players, local celebrities, and plenty of people from town crowd the house and yard, all dressed up in elaborate costumes. 

the energy is infectious, and you can’t help but feel excited. it’s been a while since you had time to just relax and enjoy yourself. with filming starting again in january, this time with laura is precious.

"look at all these costumes," you say, scanning the room as you walk inside. "everyone really went all out."

laura hums in agreement, her eyes also darting around the room. "there’s a lot of ghost faces too, huh?"

you snicker at her observation. it’s only been eight months since your portrayal of ghost face in the newest scream movie hit theaters, and clearly, the character has made quite an impression.

“maybe they’re trying to pay homage to me,” you joke, though there’s a proud twinkle in your eye. laura just smirks at your playful confidence.

as you weave through the crowd, you suddenly spot someone wearing a ghost face robe, a wig matching your hair color, and sfx makeup that looks eerily familiar to the scene where your character was killed.

"laura, look at that," you nudge her with your elbow, pointing at the person. "they look just like drew in the movie!"

drew was the name of your character.

laura glances over and bursts into laughter, clutching her side. "oh my god, they really do!"

you can’t help but join her, your laughter mixing with hers. it’s surreal and flattering all at once. 

you played ghost face in that movie, but it wasn’t just the mask — it was you underneath, with the same hair, the same body language. and now, here someone is, practically a carbon copy.

"that’s insane," you shake your head, amused. "guess i’m more popular than i thought."

"you’re the actress the world loves, babe," laura says with a wink. 

"germany might adore me, but you’re on a whole other level."

"oh, stop it," you say, lightly swatting at her arm. "you know this crowd loves you just as much, if not more."

you aren’t lying. the attention you receive in germany isn’t as much as laura gets. most of your fans are english or american.

as the night goes on, the two of you bump into some of laura’s teammates, including nicole, who’s wearing a nice indiana fever costume.

"y/n!" nicole calls, waving as she approaches you with a bright smile. 

"i see there’s no shortage of ghost faces here tonight. i think everyone’s obsessed with your character!"

"honestly, it’s insane," you laugh. 

"i’ve seen at least five already. not sure how i feel about it."

nicole grins, her eyes scanning the room. "oh, speaking of, one’s coming your way right now."

you turn your head just in time to see another ghost face making their way toward you, the familiar black robe swaying with each step. 

this one’s holding their phone out in front of them, clearly looking a bit nervous but determined.

"hi y/n, i’m so sorry to interrupt, but i’m a huge fan," they say, their voice muffled under the mask. 

"can i get a picture with you? your portrayal of ghost face was amazing."

a soft smile tugs at your lips. "of course," you reply, always happy to meet fans who appreciate your work. 

"thank you so much for the kind words."

you stand beside them as they pull out their phone and take off their mask, posing for a quick picture. 

laura watches the whole exchange with a playful glint in her eyes. as soon as the fan walks away, she can’t resist.

“oh my god, y/n, i’m such a big fan! can i get, like, ten pictures with you please?” laura dramatically gasps, pretending to fawn over you as she pulls out her film camera, taking on the role of an exaggerated fan.

you burst out laughing, rolling your eyes at her theatrics. "laura, calm down," you giggle, trying to wave her off, but she’s already snapped a few shots of you.

"no, no, seriously, i’m your biggest fan!" she continues, mock gasping and throwing her hands up. 

"i’ll even frame them in the apartment! please, just a few more!"

"okay, okay, that’s enough," you laugh, swatting at her camera. "you’re going to run out of film if you keep this up."

but laura’s grinning, clearly having way too much fun with her impromptu photoshoot. 

"oh come on, y/n, you know i’m your biggest supporter. it’s not every day i get to party with a horror icon."

you roll your eyes affectionately. "i swear, you’re worse than my fans."

“it’s just ‘cause i’m marrying a horror icon,” she teases, slinging an arm around your shoulders and pulling you close. 

“and don’t pretend you don’t love it.”

you smile, leaning into her touch. "okay, maybe i do love it. just a little."

"thought so," laura smirks, pressing a kiss to your lips. 

"you’re stuck with me and my endless teasing." she whispers against your lips.

"i wouldn’t have it any other way," you admit softly, feeling the warmth of her embrace as the night continues around you. 

masterlist

happy halloween 🎃

[voxina]

By their own admission, 2024 was a rough year for the Black Keys. After releasing their 12th studio album, Ohio Players, the band was looking forward to a North American arena tour following successful shows in Europe. Instead, they canceled the entire tour, reportedly due to low ticket sales, and subsequently fired their management — which included industry heavyweight Irving Azoff — and PR team. Two weeks later, in a since-deleted tweet aimed at Azoff, drummer Patrick Carney wrote, “We got fucked. I’ll let you all know how so it doesn’t happen to you.” (In another deleted tweet, Carney sarcastically wrote of Azoff, “So great to know you are always looking out for the artist.”)

Short of a few shows — more on the group’s “America Loves Crypto” gig in their hometown of Akron, Ohio later — the band went relatively quiet, establishing a semi-frequent Nashville residency for their all-vinyl “Record Hang” dance parties but not speaking publicly on the fracas that both fans and the music industry watched closely.

Last July, the duo did what they usually do when faced with adversity: They hit the studio, spending the better part of last summer and fall writing and recording more than 15 songs for their upcoming album, No Rain, No Flowers. (The group is still deciding how many tracks will make the final cut and will release the album later this year.) On first single “The Night Before” (written with Daniel Tashian, who co-wrote and co-produced Kacey Musgraves’ Golden Hour), the group leans into its upbeat pop-rock side. “It was very organically [done] in the studio together,” singer-guitarist Dan Auerbach tells Rolling Stone. “The three of us just came up with it together on the spot.”

Earlier this week, the duo announced their long-awaited rescheduled tour dates, swapping arenas for smaller amphitheaters and theaters. “The whole music industry obviously has changed over the last 15 years,” Carney says. “We’re still trying to figure out how it works and feels authentic.”

In their first interview since the tour cancellation and management split, Carney and Auerbach spoke to Rolling Stone from the group’s Easy Eye Sound studio in Nashville for both a post-mortem of the past year and optimistic look ahead.

Can you talk a little about the significance of the album title No Rain, No Flowers? Dan Auerbach: Well, we wrote the [title] song with [Grammy-winning songwriter] Rick Nowels, and it was just an expression that I’d heard, and we turned it into this tune that seemed to sum up how we envisioned ourselves getting over the situation that we’d just been through.

Patrick Carney: Rick likes to start with a title, and that was the title Dan had written down in his phone. You got to take it on the chin sometimes to move forward, and that’s kind of what the last year was for us.

How would you sum up the past year for you guys? Carney: Pretty enlightening and eye-opening. Dan and I have a pretty good grasp on the music industry, but to be exposed firsthand to how things have changed, it was pretty shocking to understand what’s actually going on. I think trying to avoid getting jaded and totally flustered, we took the opportunity to reassess how we’re doing things and to make a record that’s mostly on this positive tinge.

What specifically was shocking to you? Carney: To generalize: to see how consolidated the industry has gotten and how connected things have become. It’s mind-blowing. And there’s just a lot of shared interests across the business side of this. When you’re an artist trying to interface with that and trying to receive helpful and constructive strategy and business input, you realize that that whole world is more deeply connected than I had ever really thought.

Dan, how would you categorize the past year? Auerbach: A lot of ups and downs, a lot of sleepless nights, a lot of 2 a.m. phone calls, a lot of worry and stress, a lot of heartache, but also an incredible amount of creativity. I feel really excited about the music we’ve been making. It feels like the creative juices are flowing in a really positive way, and I’m kind of loving it.

Let’s get into some details. Two weeks after the tour was canceled, a rep for Azoff Management said the split was “an amicable parting.” Is that how you would characterize it? Carney: [Pauses.] I mean, we fired their ass. Shit happens. We spent a lot of time making Ohio Players and turned it in in October 2023 and had all this time to plan how we were going to tour. Things got off to this weird start where I was waiting for these European dates to pop up because our plan was to go to Europe first. We ended up getting nine shows sent to us [on] a three-week tour. There’s absolutely no way to make money [from] that.

We kept having to move shit around for a Manchester show because there was a venue that our management company co-owned and wanted us to play, and it wasn’t ready. After going to Europe 30 times in our career for tours, this was the most poorly orchestrated tour we had been on. The shows were incredible, but [it] just became the first sign that maybe there was some poor organization happening.

When did the relationship with Irving Azoff sour? Carney: The ultimate answer to this is that it’s a broader thing. I don’t even want to mention that guy’s name. I want to look at this from a bigger perspective. The essential thing that we learned here was how many management companies are directly connected to a company that runs every single aspect of promotion in this country. This whole industry is so intertwined from ticketing to promotion to the management company. But essentially as artists — and this is the thing that we care the most about — it’s almost impossible to talk about this…. You’re dealing with management companies that co-own festivals with this other company. You’re at the [whims] of these people who have other interests.

So when you’re called into a manager’s office and he suggests something to you, I was naive enough to think that that was on the up-and-up. And more and more, it’s just not. So it’s a hard thing because I don’t think Dan and I want to sit here and look like whining bitches. But we got a little bamboozled here.

Patrick, last year you tweeted: “We got fucked. I’ll let you all know how so it doesn’t happen to you. Stay tuned.” How do you feel you got “bamboozled”? Carney: Well, I had to delete it, so I didn’t get sued.

Who threatened to sue you? Carney: No one threatened, but it was a big no-no to even talk about what’s going on here. There’s a concentration of connectivity that eliminates competition. [For] a capitalist society to function, there has to be competition. And if everything’s connected and all the interests are shared on one side, there’s no way to compete. Our tour, we had about 10 [arena] shows that were not doing great. They were just in rooms that they shouldn’t have been in.

So in any situation like this tour, we might’ve had to take one on the chin and find new venues to play in certain cities, but instead we were advised to cancel the whole tour. We were told … there were other venues being booked, and it was all going to get into more intimate rooms, and it would be great. But that wasn’t accurate. That didn’t exist.

It’s all very fucked up, and the bottom line is that we can’t even really talk about it because we won’t be able to work.

Dan, did you know Patrick was going to tweet that? Auerbach: No, I woke up to that one.

How did you feel when you saw it? Auerbach: I understood the intensity of it.

Anything else? Auerbach: No.

Did you two ever personally consider scaling down the tour rather than cancel, or are you claiming that wasn’t even an option? Carney: No, it was told to me by someone that we ended up parting ways with that the dates were being rebooked into rooms that were scaled down. So we could cancel this tour and we would re-announce dates in a couple days in these better rooms. But the plan wasn’t there because there were no holds on rooms. It was bullshit. I don’t want to use the term “lie” because I don’t want to get fucking sued, but what was presented didn’t exist.

There’s certain cities where we know we can [sell] … but you want to look to your management to make these decisions. We spend so much time making the music [and] figuring out promotional shit. This is what you lean into for management, and you hope that there’s decisions that are made on the up-and-up so that they help everybody. That’s just harder and harder to come by.

Now I’m curious about your thoughts on the Department of Justice’s lawsuit against Live Nation, claiming the company is a monopoly. (Live Nation vehemently denied the claim when the lawsuit was filed.) Carney: When [the Live Nation-Ticketmaster merger closed in 2010], Obama said, “This is so close to a monopoly. You need to watch this.” And the reason why it was allowed to go through — because it was a monopoly — the argument was artists aren’t signed into long contracts. The artists can always just opt to go to someone else … But at this point, if you don’t work with a certain company, where are you going to work?

The thing that most people don’t understand is that when you control ticketing, promotion, and all this stuff, and then you get into owning the venues and then having shared interests with management, it just becomes harder and harder [for artists] to do business. This isn’t something that’s unique to the music business. All across this country, things are getting so intertwined [and] so consolidated that it’s harder to compete in general.

It was widely reported that ticket sales for the tour were weak, with The New York Times saying last year, “Some tours like the Black Keys may simply be a matter of the band overestimating demand.” Is that a fair statement? Carney: I don’t know, but all I know is this: After the tour was canned, I went through my email, and I had one email from Ticketmaster about the tour on the day it was announced and nothing else in my inbox for six weeks. When I finally went through the numbers after the tour was canceled, we had sold nearly $10 million worth of tickets, and we had four months till the first show. We just had to take one on the fucking face.

After the tour was announced, more than a few fans complained about high ticket prices, and it’s the artist that typically sets those prices. Nosebleed seats were reportedly going for $100 at some venues. Carney: We weren’t even asked about the ticket prices on the last tour. We didn’t set them. On this [next] tour, we realized that we have to be more involved in this. The last thing Dan and I want to do is gouge a fan on a ticket.

But in retrospect, would you have tried to lower the ticket price? Carney: Yeah. This is this ongoing thing where it’s like when we did the El Camino arena tour [in 2012-13], the average upper bowl ticket was $40 or something. And then after scalping and stuff, those tickets were $65, so scalpers were making more money off those tickets than we were. Which I think is disheartening because the fans are paying it and it’s not getting to the band.… The cost of going on tour now versus 2012 is 3.5 [times higher]. Our ticket prices haven’t gone up that much.

You fired your management and PR team after the tour was canceled, but not the agency that actually booked the tour. Why is that? Carney: [Pauses.] Because I think a lot of these deals are done between management and another bigger company.

You did play a few live shows last year, including a show called “America Loves Crypto,” whose goal was to “rally the 5 million crypto owners that might just decide the 2024 election.” How did that gig come together? Carney: It was very simple: We had lost all of our income for the year. We had retainers for people that we were working with. We got offered a lot of money to play a show, and we saw that the Black Pumas had done the same event and we were like, “Book it.” It’s that simple, bro.

I was going to ask if you guys consider yourselves crypto enthusiasts. Carney: We’re Crisco enthusiasts.

You did get a fair share of criticism, though. The top comment on your own fan Reddit is, “LMAO. It’s a PAC that has endorsed all the worst candidates from both parties. What the hell are they even doing?” Did you talk about the optics of doing this gig? Carney: Of course we saw all the shit coming in, but it was like, “What are you going to do?” We were told it was a bipartisan thing. It was what it is. It was very small. It was in our hometown, so we got to go home and see our folks. I’ve definitely seen my name in bad light in the press before, so it wasn’t anything fucking new … If us playing a concert for 300 people is going to sway the whole state’s vote, then we have bigger fucking problems, bro.

Given the past year, does your mindset change going into the next tour? Carney: The most important thing for us right now is to just put on good shows that the fans enjoy. We’ve been looking to bands whose records maybe don’t chart well, but they connect with their fans in a deep way. We’ve been on this creative streak where we’ve released four albums in five years. We might just be saturating the fucking market, but it’s like while it’s happening, you just have to do it.

We’re both in our mid-forties. We’ve been doing this for 20 years. We have a greater appreciation now for what we have together than ever before. And over the last year, we’ve seen people we care about get sick. Life isn’t a guaranteed thing. So if you have this thing that’s working, why not just fucking move on it?

It’s important for people to know we got a little bit complacent with the business shit because we’ve been so busy with the creative shit, and so we just got reminded that we have to pay attention to both things.

When you look back on the five-year period between 2014’s Turn Blue and 2019’s Let’s Rock, when you guys weren’t really speaking, do you think it cost you any momentum or potential success? Carney: I looked at it like this, dude. Back then, we were literally printing money, and we were miserable. Now we’re just making tons of songs, and we’re in a much better place. The gigs were coming in, and we weren’t able to make music as often as we wanted, and that’s where the break came from … We just wanted to make some music, and so that’s where we’ve been trying to navigate that road since. We’ve picked out rooms that seem like the fans will enjoy the most, that we’ll enjoy the most, and we’ll just see what the fuck happens. Hopefully, people show up.

Patrick was always the more business-minded end of the group. Dan, did the events of the past year make you want to become more involved in the business side? Auerbach: We just have to focus on what we do best, and each of us have talents in certain areas. We just put trust in each other, and that’s the most important thing right now, and that’s what we’ve been doing. It’s funny because it’s probably a direct result of all this trauma that we just went through the last year, but we’ve been hanging out together more than ever. We’ve been getting obsessed with music and collecting records, and hanging out more is making the music better and the business better. 

What exactly do you mean by “trauma”? Auerbach: Going through all the work to put this whole thing together to be able to present it to our fans, and then going out and supporting it on the road and playing shows for our fans, and then to have all of that taken away and mess up the connection that we had to our fans for so many years right when we felt like we were really in a great place. Like we said with those shows in Europe, even though the business side of the tour was so bad, the actual shows were amazing, and we expected the same when we went back to the States.

We’d been opening up our sets, doing covers, and we had plans for doing more of that too. And to just have all that completely pulled out from under us, it was not something we’d ever experienced before in 20-plus years of doing it. So yeah, it was traumatic. But I guess we’re feeling more thankful than ever that we’re able to go out on the road and play shows and be able to see our fans again.

It sounds like mentally, you guys are in a better place than you were six or nine months ago. Carney: Yeah. We’re competitive, and we like to work. And when it seems like the rules have been changed to the point where the game isn’t winnable, that’s when we start getting fucking flustered. We’ve been looking to people who play a different game. They don’t get caught up in that bullshit. Their version of winning is more about how they connect with their fans. That’s the inspiration.

[Full article here]

[mydaddywiki]

Robert Prosky

Physique: Average/Chubby Build Height: 5’ 10½" (1.79 m)

Robert Prosky (born Robert Joseph Porzuczek, December 13, 1930 – December 8, 2008; aged 77) was an American actor. He became a well-known supporting actor in the 1980s with his roles in Thief, Christine, The Natural, and Broadcast News. Prosky’s other notable movies include Gremlins 2: The New Batch, Hoffa, Mrs. Doubtfire, Last Action Hero, Miracle on 34th Street, Dead Man Walking and Mad City. His most notable TV role was of Sgt. Stan Jablonski on the TV police drama Hill Street Blues.

A craggy-faced, heavyset character actor, Prosky was the first guy I like with a beard. Sounds silly to say now, but he really rocked that beard in Mrs. Doubtfire that I couldn’t help but like him. Don’t get me wrong, I’d fuck the shit out of him without the beard. It just goes to show what some facial fuzz can do for a man. He was best suited to playing salt-of-the-earth characters, sometimes with a mischievous or slightly sinister edge that allow him to work that beard of his.

A native of Philadelphia, Prosky studied at the American Theatre Wing, later graduating from Temple University. He performed at Old Academy Players, a small theater in the East Falls section of Philadelphia, adjacent to Manayunk. He also served in the U.S. Air Force during the Korean War. Prosky spent 23 seasons as a resident actor with the Arena Stage Theater in Washington, DC before making his film debut as an initially ingratiating gangster in Michael Mann's Thief. He came to prominence as the endearing Sgt. Jablonski on Hill Street Blues. Prosky also became a familiar TV face in a succession of TV movies, pilots, and guest spots.

Prosky died in 2008 from complications of heart surgery. He was survived by his wife of forty-eight years, Ida Prosky, and three sons, Stefan Prosky, John Prosky and Andrew Prosky, the latter two being actors as well.

RECOMMENDATIONS: Dead Man Walking (1995) Mrs. Doubtfire (1993) Hill Street Blues (TV Series 1984–1987) Broadcast News (1987) Thief (1981)

[woso-fan13]

It’s Fantastic

Most of the team is hanging out in the common room, everyone doing their own thing. The silence of the room is interrupted when you look up from your phone, calling everyone’s attention. 

“Hey guys? Do we have any plans tomorrow night?” 

The question is clearly directed towards one of the older players, as you and the younger players have made it clear that you would not be memorizing schedules. 

Alex scrolls through something in her phone for a few seconds before looking up and responding. 

“Practice until 6, dinner at 7. After that, we have the rest of the night off. Why?”

“That’s literally perfect! There’s a movie theater not too far from here, can we please, please, please all go see the new Barbie movie?!?” you’re not ashamed to admit that you may be begging slightly. 

The others chuckle at your enthusiasm, but all exchange glances. There really wasn’t a good reason that they couldn’t see the move. And judging by the looks on everyone’s face, you weren’t the only one who wanted to go see it.

“Tell you what, Y/N,” Pinoe levels you with a look, “if you can convince Vlatko to let us all go, we’re in.”

“Easy,” you say with full (false) confidence. “He can’t say no to me. Plus, I already rented out a theater.”

—-

It turns out, Vlatko has no problem saying no to you. But, again, you’re not above begging. You beg and plead, until he finally gives in. Honestly, it’s probably so he doesn’t have to listen to you anymore. 

Your team was in, Coach had approved it, now you just needed to make it exciting.

—-

“It’s Lucy and Kiera, and Georgia and Le-“ you sing, skipping into the England common room. “Hmmm, I guess that song doesn’t really work anymore. And I didn’t even get to the bridge about Beth and Vivi.”

The England team is somewhat startled by the American who came singing an obnoxious theme song. You had made the song up almost four years ago, after you had signed for Arsenal. At freshly 14, in a new country and away from your family, some of the Arsenal girls had taken you in. 

When they realized that going to camp meant leaving you behind, Leah worked some magic and managed to sort it out so that you could go and practice with the team. You clicked with the team instantly, becoming the annoying little sister that they couldn’t help but love. 

“Anyway, mates,” you start. Leaning over to Georgia, you whisper to ask, “did I use that right?”

At her nod, you continue, “as I was saying, anyway, mates, I’ve come to extend an invitation for a once in a lifetime opportunity. It’s been called bigger than the World Cup. Who wants to go see the Barbie movie tomorrow night?”

You’re bouncing on your feet slightly as you speak, clearly excited. 

Lucy lets out a small chuckle, “good luck convincing Sarina to let us skip recovery to watch a movie.”

You squint slightly at Lucy, somewhat questioning, “you seem to forget who convinced Sarina to let us have a Colin cake for dinner more than once. It’s on.”

“Meet in the US lobby at 7:45, and don’t forget to wear pink,” you shout over your shoulder as you rush out the door. 

—-

Sarina agreed with very little convincing. You assured her that all of the girls were okay with starting recovery earlier so that they could go to the movie, and she couldn’t deny that team bonding is always a good idea. 

She only had one stipulation, which you easily agreed to. After helping her pick out the appropriate pink outfit for her to wear the next night, you move on to your next project. 

—-

You knock cheerily on the door a few times before swinging it open. Your face lights up as you see the two people you were looking for, and you rush towards them. 

Rue and Katie pulled you in, hugging you tight. You hadn’t seen them in a long time, and you had missed the women who had watched out for you for so many years. Rue pressed kisses all over your face as Katie ruffled your hair. You pull away from them, giggling. 

“Guys, I love you and I missed you like crazy, but that’s not why I’m here,” now, you turn to address the majority of the Ireland team that’s in the room. “I’m here to invite you all to come to a very exclusive cinema screening tomorrow evening. Meet at 7:45 in the US lobby and wear something pink. Don’t be late!”

You shout a quick bye to the two women before leaving the room, now onto your hopefully last task. 

—-

“Oh, Sammy,” you say happily, trotting into the room where you found most of the Australian team. 

You knew Sam from playing against her in London, but you had become even closer when she started dating Kristie. If she could be your possible future sister-in-law who’s not actually related to you in any way, you had to be best friends. If you asked Sam, though, she may say that she mainly tolerates you. 

“Hi Ali, hi Sammy, hi rest of the team,” you rush out, “tomorrow night, 7:45, US lobby, wear pink, please come.”

You nod once, turning and waking out the door. The team sits in confusion for a second, scanning the others’ faces to see if anyone knows what you said. 

—-

When dinner started at 7, you ate about two bites before trying to get out of your chair and clear your plate. You get about a dozen glares and a hand catches your wrist before you leave the table. 

“I’m full, promise, I just gotta go. It’s almost time,” you protest. 

The glares don’t lessen, though, so you slump back in your seat. You pout as you push the food around your plate, the others trying not to laugh as you through what is basically a temper tantrum. 

“Y/N.”

Your full first name gets you looking sheepishly up at Alex. 

“You don’t have to finish your whole dinner, but you do need to finish your vegetables. Then you can go get ready.”

You still squirm slightly, too excited to sit completely still. But you don’t make any move to bring your fork up to your mouth. 

“You know,” Kelley starts in a way that makes it clear that you don’t actually know, “I bet Pressy and Tobs would love a call to hear about how the ‘golden child’ isn’t listening. I don’t think they’ll be asleep yet, how about we give them a call now?”

You stay silent, finally managing to still your body. 

“It’s funny, I bet Tobin still has all the numbers of the Arsenal players. And I would also bet that she would not hesitate to call them and tell them the plans are off because someone couldn’t behave.”

She pulls her phone out, then hesitates, “that takes care of England and Ireland, but I’m not sure about Australia. I could have Kristie call Sam, or I could have Chris call Ali. Y/N, do you have any preference?” Kelley fixes you with a look. 

Finally, you break, showing a bite of your dinner in your mouth. After chewing and swallowing, you look up. 

“I’m sorry, please don’t cancel. I wasn’t trying to be bad, I’m just excited.”

The rest of dinner passes quickly, and soon it’s 7:30. You’re basically vibrating in the lobby, waiting for everyone to arrive. Soon enough, everyone’s arrived and the lobby is a sea of hot pink. With a giant smile on your face, you start leading everyone out of the hotel and over a couple of blocks to the movie theater. 

“Was this planned?” Sam leans over to ask Kristie, “how did she have that outfit?” 

You were wearing a fully pink outfit that would have made Barbie herself jealous. Meanwhile, the England girls were doling out their pink warm up gear after you insisted that you wouldn’t let anyone not wearing pink into the movie. 

Kristie laughs, “no, that’s just how she dresses. Pink nails, pink dresses, sparkles, the whole deal. It’s easier not to question it.”

You were at the front of the group, talking to players you used to play with, players you currently play with, players you could only dream of playing with. There weren’t different countries, there weren’t rivals, there weren’t competitors. There were simply people following a girl dressed in far too much pink. 

[lamaery]

100 Portraits Training | Part 3 and 4 These are mostly from my ref folders for Adolin and Renarin :D Part three

15 - 16) Australian actor Remy Hii

17) Filipino-American actor Vincent Rodriguez III

18) German tennis player Alexander Zverev

19) Filipino-Canadian actor Manny Jacinto

20-21) Chinese weightlifter Lü Xiaojun

22) Burmese-Amercian mixed martial artist Aung La Nsang

Next to actors I looked for sportspersons to use as references, because they have enough of a public image that I could reference them with name (which felt better than just using random people from the internet). Actors are often shown often being very attractive (I should take more refs directly from movies...) and it was nice to also try more day-to-day faces. Everyone is beautiful in their own way, of course, but I wanted to look for pictures which didn't having the person they showed looking beautiful as their main objective.

Part four

23 - 24) Burmese mixed martial artist Aung La Nsang

25) Indonesian badminton player Tontowi Ahmad

26) South Korean sabre fencer Oh Sang-uk

27)Philipine pole vaulter Ernest John Obiena

28) Filipino-Canadian actor Manny Jacinto once more

As for links in this one hmm... This page by the Consortium of Asian American Theaters and Artists has shot overview of some terms which are important to be aware of for representation (albeit from a theater perspective, but it's still useful) This piece by Khoo Wei Shawn is a brief look into how racial representation has changed in the cartoons using the Ducktales series as an example. His footnotes could be useful for anyone wanting to get deeper into the topic, too. And lastly another take on racism in animation by Ruth Dubb. This one looks at the depiction of black people in early American cartoons and the stereotypes that came with those. Most sources I could find were from an American view. Or least from people living within a Western and American context. In part that's probably due to the language barrier (I have some in German, but there we go again... difficult to share that with most people here). Different countries have their own history of people being racialised and how that intersects with other issues and themes. So if you know of or have interesting takes from non-American sources and perspectives on the topics, please share. :)

------------------------------------------------------------------------------

Part 1 – Start of the project Part 2 – Kaladin Part 5 – Dalinar Part 6 & 7 – Shallan and Jasnah Part 8 & 9 - various people and skin tones Part 10 – a little bit for The Lopen Part 11 & 12 - Wit and Navani Part 13 - ofmd und Dev Patel :)

[lost-in-reveriie]

"YOU LIVE YOUR LIFE, YOU GO IN SHADOWS..."

꩜ ADDY .ᐟ

╰⪼ she/her・minor (15)・queer・ intp ・april aries・reader・music lover・cinephile・american・evermore stan・theater kid・introvert・red nail polish 24/7・remus lupin and pandora rosier kinnie・guitar player・pinterest and spotify are my besties・retired yt editor・chocolate and coffee lover・yellowjackets member (lottie is my wife)・the fifth march sister・lestat de lioncourt defender・#1 would that i and hozier fan・

longer intro post › linktree › discord is lostinreveriie !!

[shewhoworshipscarlin]

Evelyn Preer

Evelyn Preer (née Jarvis; July 26, 1896 – November 17, 1932), was an African American pioneering screen and stage actress, and jazz and blues singer in Hollywood during the late-1910s through the early 1930s. Preer was known within the Black community as "The First Lady of the Screen."

She was the first Black actress to earn celebrity and popularity. She appeared in ground-breaking films and stage productions, such as the first play by a black playwright to be produced on Broadway, and the first New York–style production with a black cast in California in 1928, in a revival of a play adapted from Somerset Maugham's Rain.

Evelyn Jarvis was born in Vicksburg, Mississippi, on July 26, 1896. After her father, Frank, died prematurely, she moved with her mother, Blanche, and her three other siblings to Chicago, Illinois. She completed grammar school and high school in Chicago. Her early experiences in vaudeville and "street preaching" with her mother are what jump-started her acting career. Preer married Frank Preer on January 16, 1915, in Chicago.

At the age of 23, Preer's first film role was in Oscar Micheaux's 1919 debut film The Homesteader, in which she played Orlean. Preer was promoted by Micheaux as his leading actress with a steady tour of personal appearances and a publicity campaign, she was one of the first African American women to become a star to the black community. She also acted in Micheaux's Within Our Gates (1920), in which she plays Sylvia Landry, a teacher who needs to raise money to save her school. Still from the 1919 Oscar Micheaux film Within Our Gates.

In 1920, Preer joined The Lafayette Players a theatrical stock company in Chicago that was founded in 1915 by Anita Bush, a pioneering stage and film actress known as “The Little Mother of Black Drama". Bush and her troupe toured the US to bring legitimate theatre to black audiences at a time when theaters were racially segregated by law in the South, and often by custom in the North and the interest of vaudeville was fading. The Lafayette Players brought drama to black audiences, which caused it to flourish until its end during the Great Depression.

She continued her career by starring in 19 films. Micheaux developed many of his subsequent films to showcase Preer's versatility. These included The Brute (1920), The Gunsaulus Mystery (1921), Deceit (1923), Birthright (1924), The Devil’s Disciple (1926), The Conjure Woman (1926) and The Spider's Web (1926). Preer had her talkie debut in the race musical Georgia Rose (1930). In 1931, she performed with Sylvia Sidney in the film Ladies of the Big House. Her final film performance was as Lola, a prostitute, in Josef von Sternberg's 1932 film Blonde Venus, with Cary Grant and Marlene Dietrich. Preer was lauded by both the black and white press for her ability to continually succeed in ever more challenging roles, "...her roles ran the gamut from villain to heroine an attribute that many black actresses who worked in Hollywood cinema history did not have the privilege or luxury to enjoy." Only her film by Micheaux and three shorts survive. She was known for refusing to play roles that she believed demeaned African Americans.

By the mid-1920s, Preer began garnering attention from the white press, and she began to appear in crossover films and stage parts. In 1923, she acted in the Ethiopian Art Theatre's production of The Chip Woman's Fortune by Willis Richardson. This was the first dramatic play by an African-American playwright to be produced on Broadway, and it lasted two weeks. She met her second husband, Edward Thompson, when they were both acting with the Lafayette Players in Chicago. They married February 4, 1924, in Williamson County, Tennessee. In 1926, Preer appeared on Broadway in David Belasco’s production of Lulu Belle. Preer supported and understudied Lenore Ulric in the leading role of Edward Sheldon's drama of a Harlem prostitute. She garnered acclaim in Sadie Thompson in a West Coast revival of Somerset Maugham’s play about a fallen woman.

She rejoined the Lafayette Players for that production in their first show in Los Angeles at the Lincoln Center. Under the leadership of Robert Levy, Preer and her colleagues performed in the first New York–style play featuring black players to be produced in California. That year, she also appeared in Rain, a play adapted from Maugham's short story by the same name.

Preer also sang in cabaret and musical theater where she was occasionally backed by such diverse musicians as Duke Ellington and Red Nichols early in their careers. Preer was regarded by many as the greatest actress of her time.

Developing post-childbirth complications, Preer died of pneumonia on November 17, 1932, in Los Angeles at the age of 36. Her husband continued as a popular leading man and "heavy" in numerous race films throughout the 1930s and 1940s, and died in 1960.

Their daughter Edeve Thompson converted to Catholicism as a teenager. She later entered the Sisters of St. Francis of Oldenburg, Indiana, where she became known as Sister Francesca Thompson, O.S.F., and became an academic, teaching at both Marian University in Indiana and Fordham University in New York City.

Still from the 1919 Oscar Micheaux film Within Our Gates.

[raccoon-in-a-dumpster]

tell me ... about william.... fun facts maybe? or how he copes after getting springlocked?

ok so we all know he's lactose intolerant and has an alcohol addiction. he does cocaine sometimes. yes. yes with henry.

he has a faggoty little walk. swingin his hips around. think of the feminine or snooty walk styles in the sims 4 (just made this up)

putting cameras and shit in the fredbear plush genuinely didn't come from a bad place. he just wanted to keep an eye on his new baby boy, afterall, his wife was dealing with michael and elizabeth, why not lighten the load a little?

he's very loud and showey and eccentric. mentally ill theater kid style.

he kinda hated how he looked post-springlock (the scars weren't the problem. it was the weight loss that irked him. he could feel his bones thru his body. very uncomfortable. also he was cold 99% of the time)

FUCKASS SILVERY EYES. whiteboy stare.

he's soo materialistic he NEEDS the next big thing

VERY market savvy too. he probably bought stocks and made a good profit off of those.

he could prolly sell time to a clock honestly

BANJO PLAYER. he did it to get money with henry. good singer too :)

bunny themed EVERYTHING. bunny lamps. bunny pens. bunny telephone. bunny paintings. bunny porcelain figures. bunny plates. bunny cups. bunny.

not the artist of the duo but he can draw

he wanted ti be in the circus when he was little..

ECHOLALIA EXTRORDINARE!!!

he has a union jack outside his house hanging parallel to the american flag.

he has sooo many fun patterned suits and ties...

hyperopia boy. he has reading glasses for that.

ADHD.

he wants henry to pull his teeth out honestly.

he's bisexual. genderqueer. and nonebiney. he has no biney.

homophobic :(

he is so sad and pathetic post springlock he's in pain all the time and weaning off opiates. his hair is always greasy and he gets these bad pains (esp in his limbs, since that's where the wounds run deepest) and honestly the sprnglocks might've ruptured his appendix. cause fuck him. his skin is thin and his hair isn't as nice as it used to be. he recovers some of that but his skin always seems just a bit too pale sometimes. smile just a bit too wide for how sharp his body is. he probably would be unable to go on a modern day plane for awhile after the springlocks. metal detectors and whatnot. he broke a lot of bones. those bills. man.

[shakespearenews]

William Schlaht poses as the Ghost of Hamlet's Father, 1986. Rendering by Bud Hill.

Scott says, "An amazing costume in this show was the Ghost of Hamlet’s Father, appearing in smoked blue armor head to foot with a winged helmet. We still have the armor, but I actually store it to keep it out of harm's way.” We asked him to tell us where it is. He would not.

[hylaversicolor]

the big eva and ocelot meta, or: how to use religious iconography and symbolism in a godforsaken, cunt serving, and incredibly transgender way

this meta started out as a way for me to learn more about ocelot by looking at eva. and then it turned into the opposite, i guess. because ocelot never, ever speaks directly about his motivation, except for one time at the beginning of mgs2 when he says he’s glad sergei noticed that he’s abandoned mother russia, and even then he hides through ambiguous wording and camera angles. (x) everything else we learn about ocelot is from other characters or is obfuscated by conflicting personas or both. we know why he does what he does (he was obsessed with big boss, eva says) yet he doesn’t state this in his own words. but you can use eva to analyze ocelot, and vice versa. during mgs3 they are both mysterious philosopher agents with ties to the book of genesis sent to help snake on his mission, often with nearly identical dialogue. (x, x) so in mgs3 when eva says “snake, huh. well, i’m eva… are you here to tempt me?” we can assume ocelot feels something similar. when eva says “don’t die on me” at rassvet, we’re meant to remember that moment when ocelot says the same thing to snake in the sewers, many scenes later. and when eva says “when i’m riding, the wind hits me so hard that it hurts. that pain keeps my mind off the pain of having to be someone else. it's not easy always fooling myself like this. it's only when i’m on the bike that i’m free to be the real me.” it’s in the back of our minds when ocelot also rides a bike later on. of course they are not exactly alike; the bike means something different to eva than it does to ocelot, and besides, ocelot is younger, less experienced, more hotheaded. eva, for all her cleavage, is reserved.

taking a detour for a moment to address the ocelot drag king thing that went around twitter recently. shinkawa and kojima noted that mgsv ocelot’s design was meant to inspire such questions from the player “like ‘is that a man or a woman, a woman dressing as a man’ kind of thing,” or “something like takarazuka” (x), japanese western-style theater “with all-female performers” (x). here’s a passage from jennifer robertson’s “the politics of androgyny in Japan: sexuality and subversion in the theater and beyond,” describing takarazuka:

The femininity embodied and enacted by the musumeyaku serves as a foil for the masculinity of the otokoyaku. Much of the training of the Revue actors involves learning a vocabulary of gendered gestures, movements, intonations, speech patterns, and the like. An otokoyaku, for example, must stride forthrightly across the stage, her arms held stiffly away from her body, her fingers curled around her thumbs. In contrast, a musumeyaku pivots her forearms from the elbows, which are kept pinned against her side, constraining her freedom of movement and consequently making her appear more "feminine." In keeping with the patriarchal values informing the Takarazuka Revue, musumeyaku have represented the fictional Woman with little if any connection to the actual experiences of females. The otokoyaku, however, have been actively encouraged to study the behavior and actions of men offstage (as well as in films) in order to more effectively idealize men on stage, be they samurai or cowboys. Personal or contrary motivations and desires aside, both musumeyaku and otokoyaku are the products of a masculinist imagination in their official stage roles. (American Ethnologist, August 1992, vol. 19, issue 3, pg 423)

if, like all things with ocelot, we take this concept and run with it to eva, then ocelot is the takarazuka otokoyaku and eva is the musumeyaku. it’s all a performance. it’s all camp.

ocelot performs masculinity. he is (arguably) a gay character who lives and breathes his own interpretation, informed by the spaghetti westerns he watched and absorbed as a teenager, of the most idealized embodiment of western masculinity in existence: the american cowboy. his movements, his bravado, his persona are all exaggerated in mgs3. but his performance is also a mask behind which he hides his true self. ocelot physically conceals his whole body; his red gloves are his trademark. eva, by contrast, shows off her body. but while ocelot hides himself by hiding his skin, eva hides herself - crucially - by showing skin. and while ocelot's whole Cowboy Thing is him performing a fantasy version of masculinity, the opposite is true for eva. she is performing femininity just as much as ocelot is performing masculinity, only instead of playing a western cowboy dandy, she’s doing an over-exaggerated femme fatale. they are both acting. they are both camp. ocelot’s masculinity is rooted in westerns; eva’s femininity is, presumably, rooted in whatever charm school training the philosophers must have given her.

this juxtaposition informs the way their roles play out throughout the course of snake eater. ocelot can go off and do whatever; he has more freedom by taking on the persona of a man. eva is more limited in her performance, confined to a pseudo-caregiver role. she must support snake, care for him, give him food items. during the interrogation scene she is the one who is forced to step in and intervene, because out of all the players in the room, the personality she’s crafted for her role is most suited to sensitivity to snake’s torture. (x) she uses her vulnerability to exploit her enemies, turns people’s preconceived notions about her against them. ocelot and volgin both underestimate her; when she successfully evades volgin on the bike, and bests ocelot in hand to hand combat, these are not traditionally feminine activities, yet they are the things she truly excels at. also ocelot has had everything put together for him, even if he doesn’t see this. (x) he has been given incredible privilege at a terrible price. eva doesn’t even have that privilege. she is working to support snake completely on her own.

yet even though eva is unfailingly on snake’s side throughout the game, helping him, giving him items, often physically close to him, seducing him, etc., she betrays him in the end. ocelot is the opposite. he is farther away; he often watches rather than intervenes when snake is in trouble. it’s not obvious that he’s been on snake’s side the whole time. and yet by the end of the game, where eva (who had gotten the closest to him) betrays snake, ocelot (who had been farther away) does not. this speaks to mgs3’s theme of “there is no such thing as a timeless enemy” - also because after the events of the game, snake and eva (though parting ways as enemies) end up as allies again, and eva and ocelot, who had been enemies in the game, become allies as well, and remain allied for life.

ultimately, due to eva’s role being confined to a traditionally feminine one in mgs3, ocelot emerges as a more compelling character. behind that femme fatale persona, though, there is a lot going on. a lot of it, i think, relates to the way eva was raised as a charm agent. as a result of her philosopher training, she can only think of human relationships in absolutes. she equates sex and love in her mind and cannot conceptualize ambiguity:

eva: do you love her? snake: no, nothing like that. eva: do you hate her? snake: does it have to be one or the other - love or hate? eva: between a man and a woman? you bet. […] eva: you were interested in the boss. snake: she was different. eva: really? how do you feel about me? snake: i should be asking you the same question. eva: me? i can fall in love - if it's part of the mission. even with you.

this is meant to be a callback to mgs1, but it’s also eva in her element, in action, working. she unzips her top as she says these lines, revealing her breasts. there’s some meta commentary here about eva fooling or charming the player, using her own sexuality as a weapon, but still being objectified nonetheless because kojima wrote her to do this. in the context of the game, yes this is eva acting of her own accord, molding her appearance and mannerisms to appeal to her target, but she is doing so as a result of philosopher training. this isn’t eva’s true self, not really. the only place she feels free to be her true self is when she’s on her bike, with the wind hitting her so hard “that it hurts.” we see eva performing increasingly risky bike stunts as mgs3 goes on. i think the stress of playing her role only continue to increase as time went on throughout operation snake eater. but not because of being forced to fool john: i think she took some pleasure in that. rather:

eva: the boss was the only one i couldn't fool. she was the only one who knew i was a fake. she told me everything. why did she open her heart to me like that? at the time, i couldn't understand it. but now I think I do. snake, she wanted you to know the truth. she chose me to tell you. that's why she saved my life. i’ve lied to you so many times, but not this time. my orders from the government were to obtain the legacy and to eliminate everyone who knew the truth about what happened. in other words, I'm supposed to kill you. but i can't do it. not because we loved each other. and not because you saved my life. but because i made a promise to the boss… and i intend to keep it. i just wanted you to know. and… you have to live.

because the boss was the one person to understand her, to look at her and see that at her core, she, like ocelot, is the embodiment of a 404 error. but this lack of self, or lack of recognition of the self, ironically, is what makes her human. the boss looks at her and instantly sees that the only way she can feel anything at all is to ride her bike so hard that the wind hurts her. she sees the pain of having been transformed into a blank slate by the philosophers, ready and willing for anyone’s preconceived notions of femininity to be projected onto her, because the boss went through the same ordeal - but unlike eva, whose earliest memories are presumably of philosopher charm schools, the boss did not start as a blank slate. she had a life, a personality, a family first, and had all that taken away in order for higher powers to reduce her to something malleable and ready to be manipulated for the sake of nations and empires. the boss is eva’s connection, her lifeline from the sterile, casually cruel world inhabited by the children of the philosophers, to the emotions and the messiness and the nuance embodied by the rest of humanity. and this connection goes doubly deep because the boss probably encountered eva in one of the philosopher charm schools while searching for her own son, who she knew had to be at a philosopher facility too.

and by choosing eva as the one to pass on her message to snake, the boss gives eva’s life new meaning, a renewed sense of humanity. in eva’s mind now the boss and snake are connected. she is part of that love the boss had felt for snake, and she inherits it by proxy. i don’t think she loved john as a human being, at least not during mgs3. even after mgs3, i don’t think she comes to understand this connection that the boss and snake had, but she still clings to it. and i think that, just like ocelot who was far away and fixated on snake, once eva is the farthest away that she’s ever been from snake at the end of mgs3, now she becomes fixated on him too. just like ocelot, snake represents humanity to her. their connection is less about love and more about trying to make sense of her own emotions, her personhood. the boss endures and haunts eva into perpetuity because i think she is a reminder of what eva could have had.

big mama: your father never wanted you. i’m sorry. human life isn’t meant to be manipulated like that. i knew that. but—i wanted you.

eva allows her own pursuit of humanity to convince her to do inhumane acts. we know ocelot joined the patriots to stay close to john (the same reason he eventually joined foxhound). eva joined the patriots, i think, because staying close to john brought her closer to the boss. that, i believe, is the reason she wanted the kids so badly. eva in mgs4 is motivated by guilt. we can see that she takes in war orphans as the leader of the paradise lost army (ironically facilitating the creation of more child soldiers, and perpetuating the vision of the philosophers even as she’s trying to dismantle their legacy). in mgs3, eva and ocelot are a pair of young philosopher spies aiding naked snake. in mgs4, eva and ocelot are a pair of aging ex-patriot spies from another time forcibly dragging the past along with them into the present. they both mistake solid snake for naked snake in semi-lucid moments; they share similar last words; they both are ultimately killed by foxdie. they kill and steal and lie and torture and maim, but in their minds it’s all out of necessity. take this analysis of paradise lost by john leonard:

The hostility of Chaos raises troubling questions about God. If God is good, all-powerful, and the ultimate source of matter […] how can we account for the existence of an evil Chaos? An evil Chaos would suggest either that God is not good or that he is not all-powerful. Many critics try to get around this problem by arguing that Milton’s Chaos (despite appearances) is not evil but good. (Introduction, Paradise Lost, Penguin, 2003)

zero, by mgs4, is the alpha and the omega. he has surpassed the limitations of his moral body and become an all-seeing, all-knowing system of AIs: in the metaphor of adam, eve, and the snake, zero is god. we can see that eva feels somewhat complicit in this transformation: “zero created the patriots to manage and control the american state […] but i am partly to blame. i bear some of the guilt for creating the organization.” ocelot’s feelings are less apparent.

back to the beginning of this essay: ocelot only explains himself once throughout the entire game series, and while he does, the camera conceals his face. importantly, his red gloves are gone in mgs4. his black gloves show us that this isn’t ocelot anymore. but since his fingers are uncovered, we can infer that ocelot is in there somewhere and he is speaking his truth. so when liquid says “cigars… father's favorite.” that’s really ocelot (with the cigar blocking his face…there’s so much in that) saying “cigars…john’s favorite.” when liquid says, “snake, we were created by the patriots. we're not men: we're shadows in the shape of men. […] the patriots saw fit to create us, and in doing so became our only raison d'etre […] so long as we both live, the world will not know an age of light […] the only choice left to us is death." that is ocelot saying “when i saw what the patriots had done, my only reason to exist became to take them down.” when liquid screams “do you see this, zero?” that is 100% ocelot saying, “watch us, zero, we’re going to undo everything you did to john.” and when liquid gives this odd, regretful glance after the confrontation at the river, (x) i think that is ocelot reacting (albeit late) to eva saying, “adam…” a scene prior.

john: ocelot and eva wanted two things…to bring me back to life, and to end the patriots. […] for me, and for them […] nothing was more important.

in the words of steak bentley, mgs4 shouldn’t have been about big boss. (x) i agree. forcing everything to connect back to big boss and to zero shrinks the universe, imbues the story with this weird predestination, makes everybody’s contributions to the plot feel less significant, weakens both mgs4 and mgs3 in hindsight by showing the writers’ lack of faith in their new material.

but you can also look at it in a meta sense of ocelot and eva saying “this story’s not done yet, i’m still going to get revenge on big boss’s behalf. this is going to be about big boss whether you all like it or not.” metal gear solid 4 is really the story of two people who loved big boss so much and carried so much guilt over the part they played in zero’s betrayal that they created this entire overly convoluted plot to make john relevant again. the irony of it is that if they had just let him fade into obscurity (the first time, after snake eater) the LET project might not have even happened at all. by mgs4 i think they both recognized this. and yet they continued to drag it out - understanding, i think, on some level, that they were doing it all essentially for nothing. and through eva and ocelot’s actions, john ends up getting….not exactly a redemption, but at least closure. i don’t know if it’s warranted or even deserved, but he gets it nonetheless. and still eva and ocelot spend most of their time away from big boss and die without seeing him again. the thought that john would be able to survive, that he would endure and live and reconcile with solid, get one final moment of “i understand.” at the boss’s grave - this kept eva and ocelot going for decades.

by the start of mgs4, for eva and ocelot, everyone else is gone. john is out of their reach, the boss has been dead for fifty years, they killed the rest of the patriots themselves after zero betrayed john. the kids that eva had wanted, too, are no good, since liquid is already gone and solid needs to die in order to bring the cycle to a close. the only way they can access their own humanity (that ocelot had found in snake and eva had found in the boss) is through clinging to each other.

big mama: naturally, ocelot and i planned to free [john] from zero's prison. we enlisted naomi hunter, an authority in the field of nanomachine research, into our organization. and we used frank jaeger to kill dr. clark. ocelot tortured the DARPA chief, donald anderson - also known as sigint - to death…and made it look like an accident. […] with para-medic and sigint dead, zero was the only one left. but we, too, paid a price. i lost ocelot. ocelot wasn't fighting for the pentagon, or the russians. and certainly not for zero. he was fighting for big boss. he idolized him.

[rhapsodynew]

#classic rock news

#new music

A book with memorable graphics of legendary bands. It is being prepared for publication.

Only 500 copies – such a limited edition will be released the book “Rock Visions: Rock 'N' Roll Graphics From The Print Age”, which is a collection of memorable artifacts of twelve famous rock bands and performers of our time. In this list: Alice Cooper, David Bowie, Elton John, BAD COMPANY, JOURNEY, KISS, LED ZEPPELIN, PINK FLOYD, QUEEN, THE ROLLING STONES, STEVE MILLER BAND and THE WHO.

The book presents their graphic legacy – from original tour programs, backstage passes and concert tickets to T-shirts, posters and record covers.

🌧 It's time for November Rain. November will delight us with a lot of good music. Courtesy of UCR News

November 1st

• The Cure – Songs of a Lost World ❤️

• Elvis Costello – King of America and Other Realms (6CD box)

• T. Rex – Bolan Boogie: The Best of T. Rex (2CDs or 2LPs)

• Todd Rundgren – Arena

Warren Haynes [Allman Brothers Band] – Million Voices Whisper

• Weezer – Weezer (The Blue Album): 30th Anniversary Edition (3CD set) ❤️

November 8

• Beach Boys – The Beach Boys' Christmas Album

• Hawkwind – Doremi Fasol Latido (multiple format reissue, including 3CD/2Blu-ray deluxe box)

• Neil Young – On the Beach

• Paul Carrack [Squeeze / Mike + the Mechanics] – How Long Has This Been Going On?

• Pete Townshend [The Who] and Rachel Fuller – The Seeker ❤️

• Rick Wakeman – Yessonata

• Steve Perry [Journey] – The Season 3 ❤️

• Talking Heads, Talking Heads: 77 ( 3CD/Blu-ray или 4LP

• Widespread Panic – Hailbound Queen

15th of November

• Black Keys – Ohio Players (flying double act)

• Bryan Adams – Concert at the Royal Albert Hall in 2024 (3CD/1 bLue-ray box)

• Burton Cummings [Guess Who] – Some good moments

• Don Henley – Creating the Perfect Beast (original 40th Anniversary vinyl edition)

• George Harrison – Life in the Material World (original edition of the 50th anniversary vinyl record)

• Iron Maiden – The Mighty Slave (original edition of the vinyl record with zotrope for the 40th anniversary)

John Cale [Velvet Underground] – "The Academy is in Danger"; Paris, 1919: Luxury Remastered Edition (VP)

• Linkin Park – From Scratch ❤

November 22nd

• Allman Brothers Band – Final concert on 10/28/14 (3 CD sets) ❤️

• The Beatles – American albums of 1964 in mono format

• Kan–Kan lives in Kiel, 1977

Chicago, I live at 55

• Don Henley – I Can't Stand Still; Cass County (Multi-voice editions)

• The Doors – The Doors 1967-1971 (box of 6£) ❤️

• Judas Priest – Rock and Roll: the anniversary edition for the 50th anniversary (in English) ❤️

• Motley Crue – Dr. Feel Good: Deluxe edition for the 35th anniversary of the group (set of 3 CD) ❤️

• Neil Young – On the Beach (opposite)

• "Smashing Pumpkins" – Aghori Mhori Mei (VP)

• Marilyn Manson – "One Murder under God" ❤️

U2 – How to Disassemble an Atomic Bomb: 20th Anniversary reissue (CD; limited edition super deluxe 5CD or 8LP box; cassette); How to Disassemble an atomic Bomb: Re-assembly edition (extended digital edition)

• Van Zant [Lynyrd Skynyrd/.38 Special] – Always look up ❤

November 29th

• Eric Clapton – Crossroads Guitar Festival 2023 (4CD/2 bLue-ray set) ❤️

• John Wetton – Concentus: The John Wetton Live Collection, Volume 1 (10CD box)

• Southside Johnny and the Asbury Jukes – Concert at the Capitol Theater, Passaic, New Jersey - December 30, 1978 (series of 3 albums, including yellow marbled edition; Sovenoman Zandt)

• Status Quo - The Path to Glory (reissue in summary, including a limited section of "Autographed Vinyl Records")

• War - CD Collection 1977-1994 (set of 4 CDs)

• Wilco – Hot Sun Cool Shroud ("Cold Sun")

🤘 New U2 track

The song "Happiness" was written during the session for the Irish rockers' 2004 album "How to Disassemble an atomic Bomb" and was included in the new album "How to assemble an atomic Bomb again" along with the Wound inspired songs "Rural Mile" and "Your Photo (X + W)"

The upcoming album will include new, previously unreleased songs found in the session archives of the original album. It will be released on November 22 in the room with the main version of "How to disassemble an atomic Bomb"

Tool Group announces the first ever all-inclusive "Live In The Sand" festival featuring Primus, Mastodon and others

Festification and Tool are pleased to announce the holding of the first ever "Tool Live In The Sand" festival at the luxurious five-star Hard Rock Hotel & Casino and Royalton Resort in Punta Cana, Dominican Republic, from March 7-9, 2025. "Tool Live In The Sand" will bring Tool fans from all over the world to the island

At this unique event, which will be headlined by Tool. There will be two nights featuring some of the most iconic and influential rock bands in the world, including Primus, Mastodon, Eagles Of Death Metal and Coheed And Cambria. The stars also include King's X, Fishbone, Wheel, Cky, Moonwalker, and longtime Tool collaborators Alex Gray and Allison Gray join as special guests.

Scorpions announce a concert in honor of the band's 60th anniversary in their hometown with Judas Priest

The legends of German hard rock Scorpions will celebrate their 60th anniversary on stage with a big concert in their hometown

The "60th Anniversary — Homecoming" event will take place on July 5, 2025 at the Heinz von Heiden Arena in Hanover and will include performances by special guests, including Judas Priest

Recall that as part of the celebration of their 60th anniversary, the legends of German rock will also visit Las Vegas

THE NEW CONCERT ALBUM TEARS FOR FEARS

Songs for a Nervous Planet is a live album that includes four new studio tracks, as well as live recordings by Tears For Fears during the tour and in their best moments. The album includes live versions of such hits as "Shout", "Head Over Heels", "Everybody Wants To Rule The World", "Mad World" and others. Covering all periods of the band's existence from The Hurting to The Tipping Point and beyond, this album will take you on an incomparable sonic journey, which is the Tears For Fears concert and their career to date

[aloysiavirgata]

Title: Fern Hill

Rating: NC-17

Timeline: pre-series

Category: XF/The Fall crossover

Summary: For everyone who asked for a Stella/Mulder prequel from my little prompt ficlet

Author’s Note:

Oh as I was young and easy in the mercy of his means,

Time held me green and dying

Though I sang in my chains like the sea.

The blonde two stools down is eyeing him unashamedly. She’s got on tight jeans and a white cable knit sweater, summer-wheat hair straight out of a Ralph Lauren ad. Eyes like Lake Tashmoo before a storm.

“You’re Phoebe Green’s American,” she observes. It isn’t a question. Her voice is buttery, a burnt-velvet purr that makes the back of his neck tingle. She sips at a rock glass full of something tawny in the subfusc gloom of the pub.

Mulder, intrigued, moves next to her. “What the fuck?”

She blinks, the barest hint of a smirk tightening her lips. “I’m not wrong.”

“I’m not Phoebe’s anything,” he replies. “She stole my Pink Floyd sweatshirt and burned my Knicks hat. She fucked a vegetarian trumpet player.”

The blonde smiles fully now. “You’re marked forever, I’m afraid. You’ve some kind of animal name, haven’t you? Bear, was it?”

He knows she knows his name, this unsettling girl. Somehow, he knows she does. “Bear,” he agrees.

“Stella,” she says, holding out a slim, white hand. “You’re Fox.”

It’s a warm plum in her mouth. Delicious, desirable, something to be proud of. Belongs in the Ralph Lauren ad with her pre-Raphaelite face and flag of golden hair.

“Mulder,” he says, shaking the proffered hand.

“Mulder.” She squeezes his fingers, then withdraws.

Mulder sips his gin and tonic, pondering. “So you know Phoebe socially,” he says. “That must be a hell of a thing. As a woman.”

Stella considers him down the length of her nose. She has the androgynous beauty of a Greek youth. A Roman statue of Minerva.

“Where do you think she got the idea for Sir Arthur Conan Doyle’s grave,” Stella asks.

He almost chokes on an ice cube.

“If you’re coughing you’re breathing,” she observes, dispassionate, as he nearly hacks up a lung.

Mulder’s heart rate settles back to normal after a moment. He looks at Stella, the hard lines of her cheekbones, her incongruously cute freckles.

He thinks of Stella and Phoebe together. Wonders if he could make that happen, their peony mouths and fine-boned faces. He would be willing to temporarily make up with Phoebe for it. Phoebe would love the theater of a dramatic apology and a threesome.

“Was the grave a hot tip or a shared experience?”

Stella only smiles, sphinx-link. Taps her glass in the bartender’s direction.

“Does it matter,” she asks, watching as her drink is refilled.

Tremendously.

“No. Do people do a lot of Brando impressions?” He clutches his t-shirt with an anguished expression.

She chuckles a bit at that and Mulder feels like the cleverest man in England. In the Northern Hemisphere.

“Plenty,” she says. “Which I like, because it creates a self-selecting population of people to avoid.”

People, he notes. Not men. He thinks of Phoebe again, her dark hair against Stella’s blonde, imagines ringing her up and what he’d say and-

Stella’s hand on his thigh. “Where do you live?” she asks. Her voice is obscene, her high breasts soft against the sweater, slender neck and perfume rich with amber and honey and musk.

He gulps at his drink. “Uni flat. You?”

“Summertown,” she murmurs. “It’ll be nicer than your place.”

Mulder blinks, impressed. His parents give him money but not Summertown money.

“Are you inviting me home with you, Stella?” he asks, low.

She considers him, swirling her glass. “I’m inviting you to my bed. I don’t need you lingering in my home.”

He laughs aloud while wondering if he is capable of falling for a woman who doesn’t have substantial emotional damage. “So you don’t want me to show up with two dozen roses and a box from Charbonnet et Walker?”

Stella sniffs disdainfully. “I’m not interested in the girlfriend role as a concept. I plan to finish school and be a detective.”

He perks up. “I’m planning on the FBI when I wrap up the DPhil. Don’t know that I’m interested in the girlfriend thing as a concept either at his point,” he says, knowing it savors strongly of bitterness.

“Oh, I don’t know,” Stella says. “I think you’d make someone a very nice girlfriend.”

Storm-goddess eyes wicked over her glass.

He pays both tabs and watches her finish the Scotch.

***

Her flat is full of solid wood furniture and good upholstery. Some of the framed artwork appears original, and there’s a Cross Townsend pen on her walnut secretary. A stack of leather notebooks that look like Smythsons or Conway Stewarts.

He wishes he could stop this, the eternal analysis.

Her bedroom smells of lemon wood polish and clean cotton and expensive unguents. The queen bed is made, an ivory silk robe draped at the foot of it. There’s no girlish clutter on her shelves, no stuffed bear on the pillow.

There’s a copy of Where the Wild Things Are on the mantel. “Seems a little below your reading level,” Mulder observes.

“It was my favorite book when I was little.” She touches the cover. “Well, one of my favorites at least. I rather wanted to be King of All Wild Things.”

He grins at her. “You wouldn’t have even needed the wolf suit I bet. You’re a bit scary, Stella.”

She snaps her teeth.

Mulder sees the two of them in her gilt-framed mirror, Stella fierce and delicate as a faerie out of Perrault. Her pale throat, her bright eyes. In the moment he wants a cantrip that will bind her.

Her face is serious again. She unbuttons his shirt with focused dexterity, her brows furrowed, her lips pursed. Dior Poison, he sees on the vanity, and gives a name to her scent.

Stella planes her hands over his chest. “Very nice,” she says, peering up through dusky lashes. She pulls her sweater over her head, drops it to the floor. Wriggles out of her jeans and kicks them aside.

He is hard as a fifteen year old.

“I try.” He hasn’t kissed her yet, even though her mouth reminds him of a little Parisian pastry and he wants to nibble at it. Apropos of which, Mulder had expected plain cotton lingerie but it’s all frou-frou lace confectionery trimmed with rosettes and ribbons. Feminine. Delightful. Flawless.

“God, you’re so-“

“Shhh,” she says, pushing him down onto her bed with a single, imperious finger. “I know all that.”

Stella straddles his lap and he’s somehow surprised that such a large presence should weigh almost nothing.

She leans into his grasping fingers, rolls against his tensed thighs. Sighs when he thumbs the front of her panties.

“Stella….”

She leans forward to kiss him, her hard belly against his own. Her clever hands at his fly.

“Let’s see how badly Phoebe fucked up, hmmm?”

***

They had wine from a Thermos and went to bed. She’s lithe and breathless in his arms, spine like worry beads against his palms.

He’d spoken to his father who helpfully reminded him that Samantha had gone missing around this time and shouldn’t he come home to see his mother?

Stella’s fully nude, hair a long braid over her shoulder, and he tugs it experimentally.

Stella makes a liquid noise in her throat, tightens around him.

He unwinds the elastic band and works the plait loose with his fingers. Spools her hair around his hand and pulls down hard until their lips are brushing.

“Fuck,” she hisses into his mouth, and it’s what he needs somehow, the grinding pain of her little teeth and he comes and comes and comes.

***

He’s headed home in six weeks with a DPhil and an acceptance to the FBI Academy and vague praise from his parents.

“Fox,” she groans against his temple. “Fucking hell.”

Mulder nips at her throat, her hair spread behind her like the tail of a comet. “Why did you call me Fox?”

“Why did your mother call you Fox?” she asks.

“She is a very sick woman,” he says into Stella’s patrician ear.

She laughs and bites his lower lip. “Me too,” she mumbles, and her heels dig into his kidneys.

***

They never said goodbye, not really, and he meant to let her go like the tide.

His flight home is in thirty six hours.

“I thought I was ready but I- a pregnant woman,” she says flatly into the phone. “I don’t know if I can do this.”

He lets her use him, her lean swimmer’s legs against his own and her skirt rucked up at her waist and her tailored Met jacket and blouse fallen open along her breasts, lacy cobweb of a bra fighting for its life.

He gazes up at her, pink and silken as rose petals.

White and distant as the moon.

“Hurt me,” she gasps. “Mulder, please, I want-”

He hurts them both.

***

He leads her into the hotel room shower, washes her princess hair while she stands still, staring at nothing.

***

He left bruises along the softest parts of her. The hidden parts, where she asked. The palimpsest of her skin will be flawless again in a few days, and he tries not to think about how else the dark things in her might like to play. He absorbed her pain like charcoal absorbs poison.

“I truly don’t know if I can do this,” she remarks to the ceiling, palms against her eyes.

He tastes her on his lips, oysters and Sauternes. He wants to nudge his face back between her thighs in the way we are called by water. She is primordial and essential and delicate and terrifying. He has an Ivy League degree in psychology, even if it’s only from Pennsylvania, and he still can’t figure her out.

“You can,” he promises, like a faithful acolyte.

“And what does it mean if I can,” she asks and he wonders the same thing about himself.

***

He fucks her against an alley wall, thick with refuse and ennui. She’s gorgeous the way that supernovas and jaguars are gorgeous.

“Stella,” he groans. “Jesus.”

“You’ll miss your flight,” she mumbles, then laughs at the idea that they care.

“You going to see me off?” he pants into her neck. “Kiss me goodbye at the gate?”

“Don’t be ridiculous. I told you I have a meeting in 45 minutes.” She hitches a knee up higher. “Oh, god, like that.”

Mulder grinds into her until she cries out, nipping at his chin, his earlobes.

He follows her into the starburst haze of an orgasm, his back shuddering, and Stella hot and twitchy against his chest.

They breathe together for a moment, riding out the wave.

“We both have to go,” Stella reminds him. “A parting of the ways this time, I think.”

Mulder lowers her to the ground. He ties off the condom and shoves it into a garbage can.

He zips his jeans up, watches Stella smooth her uniform, her hair.

“Here’s lookin’ at you kid,” he says, rather lamely.

But Stella smiles one of her rare, full smiles. “One day when you’re a world famous profiler and I’m Commissioner we’ll team up,” she says.

He brushes brick dust from her shoulder. “Why are you running the Met and I’m a lowly Special Agent still?”

She looks confused. “Because I like to be in charge and you don’t. You didn’t want to be King of All Wild Things.”

He palms her jaw, thumbs her cheekbone. He smiles fondly down at her.

“Don’t,” Stella warns.

Mulder shakes his head. “No. Go, run the Met and remember the little people when you ascend the throne.”

She covers his hand with hers for a moment. “Phoebe fucked up badly,” she says. “Now go back to the colonies and teach them how to make a proper cup of tea.”

“We just throw it in the Harbor.”

Stella squeezes his hand before taking it from her face. She walks briskly out of the alley without ever looking back.

***

He makes the plane, though barely. He falls asleep over Dublin. He dreams of sailboats and lonely islands and even in dreaming he knows Stella is right. He wants to be where someone loves him best of all.