#Associate Artistic Director

[fireangelsstuff-inactive-2024]

Disney laying off artists that helped develop Inside Out 2 to plump up their bottom line by avoiding having to pay the artists in their employ what they are owed from the movies profits

Sure would be a shame if the entire union voted to create a company that acts and negotiate on their behalf as an agency would and the artists are therefore contractors/shareholders of a company that Disney then has to pay an invoice to?

How badly do the artists/crew want to possess a bargaining chip that could fuck up Disneys credit rating if they misbehave?

[babblingfishes]

I continue to be. So Fucking Tired Of People

[lapsedmathematician]

think I might be a chantal akerman ride-or-die fan in record time. this is the most obsessed I've been with a director's voice after seeing one movie of theirs since charlie kaufman

[astrocafecoffee]

💫Your future spouse's career based on your Juno persona chart 💫

✨ For entertainment purposes only. Enjoy.✨

🌜what to check?

- just check your Industria (389) asteroid in your Juno persona chart.Find out in which house it falls in!!

Why this asteroid?

- Juno persona chart tells about your future spouse and Industria(389) asteroid is a long term career related asteroid. So this asteroid in your juno persona chart can give a insight about your future spouse's career.

🌜SOME SHORT TERMS I USED HERE :

- FS = FUTURE SPOUSE

-JPC = JUNO PERSONA CHART

Leshh go!

🌆 Industria in 1st house of JPC : 1st house represent one's identity, personality and how they present themselves to the world.This asteroid in 1st house suggests that their career may be tied to their personal identity and innovative spirit. Now some possible career of your fs-

*Entrepreneurial scientist - they may excel in entrepreneurial pursuits within the scientific community. They may innovate new technologies, products that have a significant impact in their field.

* Industry leader - they maybe known for their innovative idea and proactive attitude to their work. They can easily be a leader of their respective industry.

* visionary consultant - they may excel in their field as a respectful advisor, who offers solutions to businesses or individuals seeking guidance.

* Creative director- career in creative leadership such as creative director in advising, film, fashion, or design.

* makeup artist

* Model

* engeneering

* design/ work in media.

🌆 Industria in 2nd house of JPC : Their career may be closely related to their values resources, managing or utilising assets and their sense of stability. Some possible career of your fs -

* wealth management specialist - they helps individuals or organizations maximize their financial resources and investments through innovative and strategic approach.

* Creative Financial analyst - specialised in creative or innovative analysis methods.

* Financial innovator- innovates new financial products, services or strategies.

* asset manager

* Entrepreneurial investor

* can sing well

* accountant

🌆 Industria in 3rd house of JPC : 3rd house represents one's communication style, mental persuits, and interaction within immediate environment. When this asteroid in your 3rd house this can indicate that your fs may excel in the career of innovative communication methods or technologies. Some possible career of your fs -

* They may into journalism, media, broadcasting, or public relations where someone uses their creative ideas.

* technology writer/ blogger: their career path may involve writing / blogging about technologies or industry trends or sharing their ideas with wide audience.

* Workshop/ educational outreach programs.

* small business owner

* excel in troubleshooting skills, problem solving abilities, explaining complex concepts in simple terms.

🌆 Industria in 4th house of JPC : their career tied to their home , family roots, and emotional well-being.some possible career of your fs -

* career in real estate - specialize in designing sustainable, eco friendly, or technologically advanced buildings.

* e- commerce, consulting, freelance work.

* Family councillor or therapist - they may help individuals and families navigate challenges, fostering harmony and growth within te hone environment.

* interior designer

* Home renovation specialist

* Family owned business owner.

* childcare provider

🌆 Industria in 5th house of JPC : 5th house is associated with creativity,joy, children and hobbies. It governs one's individual approach to work, self expression and personal fulfillment. So your fs career strongly related to this area of life. Possible careers -

* creative artist/ entertainer - Excels in creative profession like music , theater , film, writing etc.

* event planer- organizing wedding, festivals or social gathering.

* teacher/ coach - inspiring or guiding others in academic subject/ sports.

* youth councillor - natural affinity to work with young people and helping them to discover their talents.

* atrs nd crafts business owner.

* fitness instructor

* dance teacher

* entertainment industry professional.

🌆 Industria in 6th house of JPC : 6th house is associated with employment, daily task, health and service to others. So possible career of your fs -

* health care professionals - career related to healthcare, nursing, doctor, medicine, and pharmacy.

* nutritionist/ dietician - helping others to improve their dietary habits , manage health condition.

* fitness trainer/ coach - motivates others to adopt healthy lifestyle.

* administrative professional - may indicate talent for efficiency, attention to detail, making career in administrative or office management appealing.

* environmental scientist

* social worker

* reasearch assistant

🌆 Industria in 7th house of JPC : 7th house is related to marriage, buisness partnership, legal matters, and one-on-one interactions. Possible career domains of your fs-

*legal professional - career related as mediators, legal consultant, specialization in areas such as contrat law , family law or dispute resolution.

* business consultant - expertise in the area of strategy, negotiation, and partnership development.

* marriage and family therapist - helping couples navigate challenges, improve communication and strengthen their bonds through therapy or councilling sessions.

* international business manager

* foreign affair specialist

* event coordinator

*public relation specialist

* human resources manager

🌆 Industria in 8th house of JPC : 8th house is associated with themes such as mysteries, psychology, healing, emotional connection. So possible careers of your fs -

* psychologist/ psychotherapist - your fs may excel in trauma therapy, helping others to navigate profound emotional experiences , uncover hidden truth.

* forensic investigator/ crime analyst- they may be focused on uncovering hidden truths and solving mysteries.

*massage therapist - specialize in modalities such as deep tissue massage, craniosacral therapy or helping clients release emotional/ physical tension through healing.

* reasearch scientist - may excel in fields such as psychology, quantum physics, or consciousness studies.

* occultist - astrologer, tarot reader, or spiritual councillors.

* healer/ energy worker

* heal others through their respective fields. Can be. Singer too .

🌆 Industria in 9th house of JPC: 9th house is associated with themes such as higher learning, expansion of horizons , seeking truth, broadening one's perspective through travel/ exploration. Possible careers of your fs -

* international relations specialist - involve promoting international cooperation, resolving conflicts, forming mutual understanding between nations and cultures.

* spiritual teacher/ guru- your fs may pursue careers as spiritual teachers, gurus, mentors, guiding others on their spiritual journey.

* tour guide

* philosopher

* religious leader - may pursue careers as priests, ministers, guiding and supporting communities in matters of faith and spiritual growth.

* global NGO worker

* foreign language teacher

🌆 Industria in 10th house of JPC: 10th house is associated with themes such as career aspirations, social status, reputation, and professional achievements. This asteroid influences the individual's approach to career, public image, authority, ambition. So possible careers of your fs -

* media personality/ influencer - television hosts , journalist, bloggers, social media influencer , reaching a wide audience.

* creative director/ artist - artist, designer, performers.

* CEO

* startup founder, business owner, or self employed professionals.

* legal professional/ lawyer

* educational administrator

🌆 Industria in 11th house of JPC: when your industria asteroid in this house your fs may excel in the career of social network, group affiliation, humanitarian causes, collaboration etc. So possible careers of your fs -

* social entrepreneur - creates innovative solutions to adress social challenges.

* Tech entrepreneur, start-up founder.

* content creator - social media influencers, bloggers, using their platforms to inspire/ educate peoples.

* environment activist

* advocate

* community organizer

* designing educational platforms , or promoting digital literacy.

🌆 Industria in 12th house of JPC: 12th house is often associated with hidden strengths, spirituality, and working behind the scenes. So possible careers of your fs -

* they might work in reserch and development, data analysis or logistical planning behind the scenes.

* astro- spiritual researcher

* music industry

* astrologer

*song writer.

* mystical or spiritual advisor.

* environmental conservationist.

⚡ Note : these are only some possibilities of careers of your fs. And guys check the degrees to , it's like cheery on top 💌

🌜Don't forget to check my other observations too 👀

That's it guys , see you soon 💝

- piko 💖

[deforest]

SHE'S CRAZY WITH THE HEAT — 1946 ft. The International Sweethearts of Rhythm

In 1946, William D. Alexander began the production of a series of one-reel shorts, half-hour featurettes and feature films that would serve a dual purpose. These black cast subjects would be released to theaters that welcomed African American audiences; concurrently, the music segments would be excerpted from the films and released as Soundies. Ultimately, sixteen of Alexander’s musical shorts reached the Panoram screen, spotlighting the bands of Lucky Millinder, Billy Eckstine, Henri Woode and the International Sweethearts of Rhythm. (Alexander actually produced four films with the Sweethearts, three ten-minute short subjects and one feature, although some of the performances turns up in more than one film; only three performances saw release as a Soundie.) The International Sweethearts of Rhythm grew out of a band formed in the 1930s at the Piney Woods Country Life School, an institution – in part an orphanage – for poor African American children. A member of the music department had apparently taken note of the success of Ina Ray Hutton’s Melodears and decided that an all-woman band composed of school members might lead to something special. While they performed locally, the ISR did not begin to hit its stride until it left Piney Woods and became a professional touring outfit in 1941. The band was certainly “international” in nature, and its ranks included African American, Latina, Chinese, Indian, White and Puerto Rican musicians. In 1941, Anna Mae Winburn joined the orchestra as front woman and featured vocalist. During the war years Maurice King joined the band as both arranger and band manager. Born Clarence King in 1911, King played reeds and later became a fine swing arranger. While here we recognize his composition and arrangement for the Sweethearts – he called this tune “She’s Crazy with the Heat ” – King is best known for his longtime association with Barry Gordy and Motown Records for which he served as director of artist development. He worked closely with vocal groups, teaching the singers how to voice and phrase together. “Maurice brought sophistication and class to Motown,” said session musician Johnny Trudell. By 1946, the Sweethearts was recognized as one of the finest African-American bands in jazz. They recorded for Guild and RCA Records, broadcast regularly for the Armed Forces Radio Service, and toured Europe entertaining the GIs. While much of the success was due to Maurice King’s arrangements, the band’s musicians were all strong, and a special nod must go to Viola Burnside, one of the most neglected tenor soloists of the 1940s. I chatted with my friend Roz Cron, a member of the Sweetheart’s reed section, shortly before her passing. When I thanked her for her contribution, she paused and said, “Yeah, we were one of the best, one of the very, very best.” (via Jazz on Film)

[swampjawn]

Dungeon Meshi Episode 13 is a simple one in terms of animation, but its simplicity makes room for subtler framing choices to shine. The first and most obvious choice is this striking wide shot of the most pivotal moment of the episode where episode director and storyboard artist Kōdai Nakano uses the wide frame and this silhouette effect to show more of the scene, while maintaining a sense of mystery, framing Thistle and Falin hauntingly under the architectural shapes of the dragon's stripped ribs.

But the choices made in the latter Chilchuck-centric half of the episode are just as important.

Chilchuck said early on that he only considers the other members of his party to be business associates and nothing more, but whether that was true or not at the time, it certainly isn't anymore. He has his guard up and is hiding behind this fabricated version of himself that's just frustrated at his friends for being stupid.

But it turns out Leed is a great listener and very perceptive and that's all he needed to let go of this emotional defense mechanism and realize that the emotion he's feeling isn't anger, it's fear. Fear that his friends (who, despite his best efforts, he's grown emotionally attached to) will get hurt. He doesn't even seem to realize that he wasn't being honest until she points it out to him.

The anime adds several shots throughout this section of other characters watching and listening to Chilchuck as he paces around sorting through his thoughts and feelings. (FINALLY, pacing around representation!)

He's not even being honest with himself about what he's feeling, so it's an outside perspective on his words that leads to the honest conversation that gets through to Laios at the end.

Simply by showing Leed watch him talk, the audience is invited to view the scene from her perspective rather than Chilchuck's

Hell, even the wargs get their own shot where their soft yellow eyes seem to show a sense of understanding and compassion.

My man was in desperate need of a therapy session and wouldn't ya know it, he ended up getting it from an orc girl and her giant beautiful dog-bears.

I broke down the whole episode in this video here, so if you liked this mini-essay, there's more where it came from!

Thanks for reading.

[flowerandblood]

Play with my heart (2/3)

[ modern actors • Aemond x Strong • female ]

[ warnings: masturbation, kissing, sexual tension, eavesdropping, discomfort associated with the loss of an eye, remorse, doubts, anxiety, unprofessional behavior ]

[ description: He gets the main role in a series about a great family and dragons, which could change his career. He is set to play the uncle and love interest of his childhood friend. When he meets the actress who plays her role, he begins to lose track of what is an acting and what is his real feelings. Sexual tension, grumpy, withdrawn, thirsty Aemond. ]

Author’s note: Yeah. I talked about it and I did it. You don't even know how much fun I had doing this. Of course, my characters play in a series whose script is an exact copy of my story The Fall from the Heavens. In this universe, Aemond (playing the One-Eyed Prince) and Rhaenys (playing the Princess) are of course not related – the other characters are also just actors. This three-part series is my gift to all fans of the original series, thank you so much for your support. "Rhaenys" in this story is her artistic pseudonym which she use instead of her real name.

* English is not my first language. Please, do not repost. Enjoy! *

Next chapters: Masterlist

_____

After filming the scene, they rose from the bed as if nothing had happened. The director complimented her acting, saying that she was able to wonderfully portray both the innocence and temptation her character evoked. She smiled at him as he unscrewed the water bottle and took a sip from it, walking towards him.

"They say the beginnings are the hardest." She said softly, looking around, waiting for the director to review again what they had managed to record and decide if anything needed to be repeated.

"Mmm." He hummed, taking another sip of water, feeling uncomfortable now that he was standing in front of her without a script, not knowing what to say.

They stood side by side in awkward silence for a while, looking at their director – he finally said that he liked everything and they would now shoot the scene where the Prince wakes her up in the middle of the night, dragging her out of her chamber after returning from Storm's End.

When he returned to his hotel room he collapsed on his bed, tired but also content. He felt ashamed that he had forgotten the line and at the same time he was grateful that his partner on set had helped him and been supportive, warm and understanding.

He didn't know how he felt about getting aroused during the scene of them kissing – he wondered where the limit of method acting was and whether he had gotten that much into his character or whether it was something else.

He decided he wouldn't think about it, and as long as they played their parts well, nothing else mattered.

The next day there was a big breakfast together in the hotel restaurant. At the table sat the director and his deputies, the writers, producers, actors, stylists and the many other people who contributed to this gigantic production.

She smiled at him from afar and waved at him, sitting at the table in her hair tied up in a braid, on her body only a T-shirt with the Pokemon logo and yellow tracksuit shorts.

He swallowed quietly, putting his hands in his trouser pockets, and sat down next to her, greeting her and everyone else along the way, unsure of how to act. Aegon sitting on the other side of the table extended his hand to him and he shook it.

"– how are you two doing? – you already have some passionate scenes behind you, right? – he's hot, isn't he? –" He asked her partner with amusement, who laughed out loud, trying to turn his question into a joke.

"– everyone here is beautiful and talented – I'm in heaven –" She said softly, deftly avoiding answering. Aegon laughed at her words and stretched in his chair, yawning loudly, losing interest in the subject.

He reached for the cheese toast, watching out of the corner of his eye as her hands placed the pancakes on her plate, which she covered next with pouring chocolate. She lifted her gaze to him and smiled at him warmly as their gazes met – he turned his face away, feeling like a mute, his heart stuck in his throat.

Why was he acting like an idiot in front of her?

It seemed to him that she took his silence as a signal that he simply wanted to eat his breakfast in peace, so she spoke animatedly to the woman to her right, Alys Rivers, who was to play the Witch of Harrenhal.

Aegon was talking to him across the table, mentioning something about their shared scene with him and Helaena. He nodded, sipping his toast with a gulp of coffee, absorbed in his thoughts, for some reason returning to their kiss.

He'd kissed many women in his career before, but this time it was something different.

He thought she was an excellent young actress.

In the following scenes they played he saw her in a gown for the first time. He thought she looked like some immortal elf in it, beautiful and light, a warm, gentle smile directed towards him on her face.

Her gown consisted of two colours – her long, floor-length sleeves were red, and the material hugging her breasts, hips and waist was light blue. Her shoulders were bare; other than that, she wore no other jewellery, her long hair falling softly down her back, accentuating her long neck.

He swallowed hard, feeling a twinge in his gut for some reason, and turned his face away, sitting down with her at the table where, together with Aegon and Helaena, they played out the scene in which the King informed them that they would be marrying for a second time, this time before the Septon.

They spent the rest of the day in the courtyard, filming shots of them meeting years later, and their conversation after they married, when the Princess came out to speak to him.

He felt a pleasant tingling in his lower abdomen at the thought of kissing her again: to his surprise, cupping her chin and placing a tender, soft kiss on her mouth came to him with ease. Her moist, fleshy lips didn't close against his caress, on the contrary, they parted invitingly, her hand tightening on his wrist.

Encouraged, though it wasn't in the script, he took a step forward and deepened the kiss, lazily brushing her soft mouth with his, her eyes closed, a quiet, sweet sigh left her mouth.

When he pulled away, he met her gaze, warm and misty, her cheeks flushed. He stroked her jaw with his thumb and she surprised him by rising on her toes, kissing the tip of his nose.

He felt his heart pound hard at the thought that this was not in the script.

However, he checked it quickly afterwards as he prepared for the next scene and saw that the director had added it as a suggestion.

He was furious with himself for feeling disappointed.

What was he thinking?

He didn't think it would be a problem for him, but he actually felt discomfort when it was time for them to play the scene where the Prince pulls off his eye patch in front of his beloved.

A new prosthetic eye was created especially for him which looked like a sapphire to represent his character well.

He was to wear it that day instead of his usual artificial left eye.

The sapphire eye was cleaned and prepared for him by the doctor who supervised, staying with him in private in the dressing room, that all was well. The very moment he closed his eyelid and opened it he felt that it was not.

Although its surface was smooth, something was wrong about its shape, rubbing his eye socket, once in a while pressing on a nerve under his skin from which shivers ran through him.

"It will take at least a few days to polish and change it."

He thought with a pursed lips that they didn't have that much time.

The shooting schedule was set to the hour.

He figured he would just get into his character's suffering more than he should.

As he walked onto the set he was met by her warm, comforting smile. He closed his eyes, clamping his fingers on the base of his nose, trying to listen in peace to what their director had to say to them.

"It's a scene of their tenderness, their closeness, at last devoid of subconscious brutality. In that one moment they reclaim each other." He said, and they nodded their heads.

In the original, this was accompanied by a sex scene, but the screenwriters decided that affectionate, passionate kissing would suffice here.

The thought that he would be able to do this to her made his heart pound like crazy, but he couldn't enjoy it: he clenched his eyes again and again, feeling discomfort.

Feeling pain.

For some reason, he thought he deserved it for his inability to be professional, for what they were doing was out of his control.

Rhaenys sat down on the desk and he stepped in front of her, between her thighs, her dark blue dress with exposed shoulders and sleeves reaching the ground perfectly accentuated her graceful figure.

She smiled, placing her hands on his shoulders, his fingers involuntarily running over her waist.

"Action!"

He took a step towards her, cupping her face in his hands, trying to focus only on her gentle gaze, only on her warm breath, only on how soft her skin was, instead of the fact that pain was filling his skull.

"Rhaenys." He whispered tenderly, pleadingly – the discomfort he felt made his words resound as if he was in pain – in pain because of the fact that they were separate.

She blinked, surprised and somehow touched, clearly appreciating his acting, which was only a matter of coincidence. She lifted her hand to his eye patch and he grabbed her wrist violently, her breath stuck in her throat.

"No." He said coldly and closed his eyes, feeling the pain as if a bolt of electricity surged through the left side of his face.

"You're my husband. That's enough." She whispered, wanting to soften her words by taking his face in her hands, making him involuntarily moan in pain. She let go of him, terrified.

"Are you okay?" She asked leaning over him and he nodded his head.

"What's going on?" The director asked them. "We're going to have to repeat the whole scene."

Fuck.

"Are you in pain? Please tell me." She whispered pleadingly and he shook his head.

"No. No, I….FUCK!" He hissed, leaning over, clasping his hand over the left side of his face, feeling such excruciating ache that he felt like ripping off his skin and tearing out all the nerves that were there.

"Call a doctor, he is in pain!" She called out, startling him by pulling the eye patch off his face. He heard her sigh in horror and cover her mouth with her hand, his stomach clenched in discomfort at the thought.

That she saw it.

That she felt disgusted.

"My God, his eye is all swollen up, what have you done to him? Can you take it out? Come." She said, taking his hand, and he walked out of the room with her like a small child, bumping into the doctor on the way.

"I warned him" He said.

"I can stay and help. If you don't mind." She said sitting down next to him on the couch in his dressing room.

He wanted to reply for her to leave, but he only groaned, unable to stand it, and as soon as the doctor had disinfected his hand he removed the sapphire prosthesis from his eye socket.

He did not know why he burst out crying.

He hid his face in his hands, feeling humiliated, thinking that the reason he had been taken for the role was because they hoped they wouldn't have to spend money on expensive CGI, but in fact he had wasted their entire day of filming.

He swallowed hard when he felt her arms embrace his head and let her lean over as she hugged him to her breasts, her pleasant scent, her warm hands stroking his jaw and back.

"Leave us alone for a moment." He heard her voice. The man nodded and said he would fetch an ointment that should soothe the abrasions.

"It would be best if you didn't wear your artificial eye today and let your eye socket rest." The man said.

"Get the FUCK out!" He growled, closing his eyes, thinking it was wonderful news, going around the set with an empty eye.

He thought it was the worst day of his life.

He swallowed hard as her forehead pressed against the top of his head, her gentle hands stroking his face, shoulders and back giving him a feeling of comfort and security.

It was so hard for him, and she was by his side.

"I admire you for holding out for so long. They should have checked that the prosthesis fit earlier, not on the day of filming. It's the production's fault and the director knows that. I'm sure he appreciates your commitment and will reorganise the work." She whispered calmly, as if she wanted to comfort him, and indeed, her words made him feel relieved.

"I'm sorry." He mumbled.

"Don't apologise."

"Can I lay my head on your lap?" He asked in a trembling voice, wondering if his request was disrespectful.

He just wanted to close his eyes for a moment and relax.

"Yes. Yes, of course, come here." She said, turning so that he could lie down.

He turned his head so that she couldn't see his left eye socket and rested his cheek on her thighs, placing his hand on her knee. He closed his eyes and sighed quietly when he felt one of her hands on his shoulder and the other on his cheek, her thumb gently stroking his skin.

There was complete silence between them.

"I got really attached to you, you know? I hope we still keep in touch after the shooting." She whispered making him swallow hard, cold sweat trickling down his neck as he felt his manhood react to her words with an aggressive throbbing.

"Yes." He muttered. "Yes, me too."

He spent the evening in the hotel bar, meant for guests only, feeling reasonably safe there, wanting to ease his mind a little, wearing a thin bandage over his left eye that allowed air to pass through.

He resented himself for being unprofessional, for having his real feelings mixed up with what he was supposed to be playing as a Prince character.

For the first time, he doubted whether he should really be an actor.

His grandfather surprised him by walking up to him from behind, patting him on the back.

"Don't worry about the issue with the artificial eye: it was their fault and the director came to me to apologise for the prosthesis not being tested earlier. You both do a wonderful job on set. The chemistry between you two is palpable and it shows on camera." He said, sitting down next to him at the bar table.

He pressed his lips together at his words, wondering if he should confide in him.

"I don't know myself. I'm confused." He confessed, embarrassed. His grandfather looked at him in surprise as soon as he ordered a double whisky for himself.

"Confused? Because of that girl? It's normal. She's kind and pretty. If you're feeling desire, that's good. Turn it into your acting." He said lightly, however, making him feel not relief but discomfort in his stomach. He stared dully into his glass for a moment, feeling the aggressive pounding of his heart.

"… I'm not sure if what's going on inside my head is good." He said in a trembling voice. His grandfather hummed under his breath, taking a sip from the glass the man had placed in front of him.

"As usual, you think too much. Even if… well, something happens between you two, one or two nights, it's nothing terrible. On set it happens all the time. The tension is high and you have to find an outlet for it somewhere." He said.

He got up from his seat and just left, feeling that he had made him sick.

He didn't agree with him, and he didn't think that using her to get off sexually was a normal thing to do.

She was young, younger than him, still filled with enthusiasm and naivety.

He didn't want to be one of those men who would take advantage of that, seduce her and then leave her humiliated as soon as the shooting was over, saying it was just a fun.

He had casual sex with actresses, but never with those he worked with directly. Nothing came of it because their paths quickly diverged and he didn't have the desire or strength for a long-distance relationship.

He didn't care.

He took a shower, brushed his teeth, changed into a T-shirt and sweatpants and went to bed, trying not to think about the fact that tomorrow they were to play a scene in which he exposes her breasts.

Not all love scenes were left in the script, however, this one was one of them, because it was significant moment – their first real intimacy and reunion after years.

They knew there was enormous pressure on them. He could see it in her face the next day – also dressed in a night gown she was looking down at her fingers, stressed, not a trace of her smile and confidence from the auditions.

He approached her, for some reason feeling that he should comfort her, lift her spirits, let her know that they didn't have to rush.

"– do you want to talk about how we're going to do this? –" He asked quietly and she nodded, unable to even look him in the eye.

"– yes –" She mumbled.

"– so –" He began, feeling for some reason that his heart started pounding like crazy, his hands clenched into fists. "– I'd start with kisses first – on the lips, on the neck, on the shoulders – they're rubbing against each other in this scene because they're feeling arousal, so it would be a good idea to try and mimic similar…movements – then I'll slide your nightgown off your shoulders – we can agree that you will guide my hand yourself when you think you're ready for me to touch you there –" He said quickly, forcing himself to be calm and composed, feeling a cold sweat run down his back.

Why was he so terrified?

He saw that she swallowed hard and nodded, looking up at him and lowering her gaze quickly, red with embarrassment.

"– yes – yes, that's a good idea –" She said and looked at him, her gaze warm, comforting.

Kind.

"– how's your eye? –"

He lowered his gaze, looking down at his boots, embarrassed.

"It's better now. Thank you. For everything. I don't want you to be scared today. Tell me if you feel something is wrong. Okay?" He hummed, and she nodded quickly, giving him a grateful smile.

"– thank you – I will –"

He swallowed heavily when the director told them to take their places. He sat down in a chair and she walked over to him, looking at him questioningly. He nodded, extending his hand to her to help her up, and she sat awkwardly on his thighs. He gently placed his hand on her hip, forcing her to slide closer to his chest, just as scripted.

They both swallowed hard as his manhood pulsed between her thighs under the material of his breeches, touching the material of her flesh-coloured panties, but neither of them said anything.

"– we will take it slow – okay? –" He encouraged her, gently cupping her cheek in his hand, bringing her face close to his. She nodded and smiled warmly at him, as if he had said exactly what she needed to hear.

"– okay –" She said.

Their director nodded at them.

"Let's try to get a feel for it first. This scene is about building tension slowly. If you feel discomfort, speak up, we'll try to do something about it. Ready?" He asked, and they nodded their heads like little children.

"Action!"

Apart from the sizzle of the fire in the fireplace to their right, surrounding their faces with warm light, there was complete silence around them.

He waited a moment before he pulled her face closer to him and his lips tentatively brushed hers in a slow, shy, moist kiss. He felt her body involuntarily move closer to him, her arms closing his neck in an tender embrace.

He felt her soft breasts through the material of his tunic, his hands traveled down her waist to her hip which he began to stroke in a soft, lazy, affectionate motion. She sighed softly into his mouth making his half-hard erection hit the space between her thighs again.

They froze in mid-motion and he was already about to apologise to her, telling her to stop, when this time it was she who leaned in. His voice went dead in his throat as her lips pressed against his, her body rubbing uncertainly against what was beneath her.

Fuck.

He thought as his hips tentatively came out to meet her, pressing what was in his breeches between her thighs, making it swell and pulsate, that this was not a good idea.

He knew she could feel it and that turned him on even more.

Her breath had become heavy and accelerated, their kisses messier, stickier, warmer, his fingers involuntarily dug into the skin of her hips hidden beneath the thin material.

"– uncle –" She mewled into his mouth in a way from which his erection became completely hard, his hand clamped down on her neck, forcing her to stay still as he slid his tongue deep into her throat.

She moaned, startled, gripping his shoulders, rolling her hips back and forth as if in a trance, teasing him deliberately, squeezing his length between his lower abdomen and her body again and again, the tip of her slick tongue licking his.

"– it tickles – here –" She mumbled helplessly, pressing her forehead against his, looking down, between her thighs, watching his bulge twitching in his breeches, which, however, only they could see.

He should have said his line, but instead, completely stunned by her behaviour and smell, he grabbed the material of her nightgown and slid it off her shoulders, snuggling his face between her sweet breasts.

She opened her mouth wide, shocked and moaned, hugging his head to her heart, making his cock throb hard. She took his hand in hers and guided it up, to her breast – he gasped, shocked how good it felt, squeezing tentatively her plump softness with his fingers, placing sticky, wet kisses on her sternum, her hands buried in his hair pressed him tighter against her bare, hot skin.

It seemed to him that she was as shocked by this sensation as he was, for she began to moan quietly – her nipple became hard under his thumb as he began to rub and tease it, his free hand clamped down on her buttock, again and again rubbing his painfully swollen erection against her.

He was turned on.

"Cut! What chemistry, I'm at a loss for words!" The director called out, and he let her go immediately.

She jumped back and got off his lap, inhaling heavily as if she was out of breath, putting the material of her nightgown quickly over her shoulders and breasts, the stylist said something to her and she just nodded, looking at him with big eyes.

He crossed his legs quickly and grunted, covering his mouth with his hand, looking towards the fire, pretending to listen to one of the assistants saying that now that they were all in emotion they would try to film their conversation years later.

Although they tried, neither of them could concentrate and they forgot their lines over and over again.

"What's going on with you two? Do you need a break?" The director asked them, and they replied at the same time that they did.

It frightened him to see her leave immediately, the thought that she might nevertheless have felt uncomfortable, that he had done something that crossed the line for her, but she was afraid to tell him.

He got up and followed her, heading for the rooms where they were changing and getting their make-up done, standing in front of the door with her name on it.

He froze when he heard a strange sound that seemed to him to be a moan of pain. He opened his mouth, wanting to ask if she was all right, if he could come inside, but then she made a different sound, a more familiar one that made his erection throb hard in his breeches.

He heard her quiet panting mixed with sweet, innocent mewls of pleasure, from which he himself began to breathe through his mouth, shocked.

He leaned his forehead against the door, wanting to hear it better, with the corner of his eye looking to see if anyone was around, but they were all on the set. He thought he was just a pervert when his hand travelled deep under the material of his trousers, clamping down on his long, swollen cock, twitching painfully with desire in his hand.

He imagined what she looked like now, digging her delicate fingers into her fleshy walls, leaking with moisture, pulsing because of him, because of what he had done to her, because of his kisses and touch.

He drew in a loud breath and pressed his lips together, giving himself a firmer squeeze at the base, imagining that he had grasped her thighs in his hands and spread them in front of his face, sinking his mouth into her wonderful, delicate folds, licking and caressing her little cunt.

He sped up, hearing the quiet sounds in her room become more vulnerable and helpless, and after a moment she moaned a little louder with some kind of relief.

He opened his mouth wide when he felt his warm semen spurt out onto his fingers at the thought that she had just come because of him.

He cursed under his breath as he looked at his hand and headed quickly to the bathroom, afraid that anyone would see him.

As he washed his hands in the sink he looked at his reflection, at his white wig and eye patch, and decided that he was beginning to lose control, that he no longer knew which feelings were his and which were his character's.

He was terrified and had no one to tell about it.

He only saw her at dinner that evening, and although she sat next to him, she didn't look at him. He pressed his lips together at the thought that she was as ashamed as he was, only she had no idea that he knew what she had done and that he had done exactly the same thing himself.

He was crushed by a sense of guilt that he didn't know what to do with.

He decided to finally speak to her, feeling his heart in his throat, playing with his fingers.

"Did I overdo it? Today during our scene." He asked in a trembling voice, trying to sound indifferent and cool. She looked at him surprised, putting her glass of juice down on the table.

"– I – no, I'm sorry I left so suddenly – it's just that all of this – all of this has overwhelmed me –" She muttered, looking down at her hands lying on her lap.

He looked at her in silence, feeling a squeeze in his throat at the thought that he understood her, that perhaps they felt the same way.

"– if you don't mind – I'd like to rehearse scenes with you before we play them – I'd like to talk to you about them – I have too much chaos in my head and no one to share it with –" She said, looking up at him finally, her brow furrowed in fear that he would not take her suggestion well.

He, however, felt some wonderful kind of relief.

"– yes – yes, that's a great idea –"

They spent the next few days acting out scenes, talking to each other for hours in the evenings in the hotel restaurant or her room about how they wanted to portray particular dialogues.

"– then when they're arguing I think to approach it more along the lines that: he just wants forgiveness and she's tired of him always expecting her to forgive him, even though he himself has held a grudge against her for so many years – something like: what should I do now? – divorce you? –" She asked sternly, getting into character for a moment, wanting to show him what she meant.

He hummed at her words and nodded, intrigued.

"– yes – yes, I think it's a good track – he's broken, exposed, afraid of the visions of that witch – he tries to push it away, but because of the way he represses it, everything he's afraid of comes back to him in nightmares –" He said, half lying half sitting on her bed with a copy of the script in his hand, the other gesturing as if he were a lecturer.

She nodded quickly at his words, sitting down next to him on the sheets, excited.

"– yes, exactly – he locks too much inside himself, and everything he fears then manifests itself in his dreams – his thoughts overwhelming him more and more and filled his mind like water that finally bursts his skull –"

"– a drop drills a rock –" He murmured and she snapped her fingers.

"– exactly –" She said, swinging her legs.

Unintentionally, his gaze traveled over her figure – her light-coloured sweatshirt with Jigglypuff from Pokemons seemed very fluffy to him, white tracksuit shorts and pretty white floral socks on her legs.

"– are you still watching this? –" He grinned with amusement. She cocked her head, smiling broadly.

"– what? –"

"– Pokemons –"

She giggled, embarrassed; the sound, innocent and sweet, made him feel a tightening in his throat and a pleasant tingling in his lower abdomen.

"– yes, but only the first few seasons – you know – the classics –" She said, closing her eyes proudly, as if she were speaking some work of Shakespeare.

"– mmm – I watched this when I was a kid –" He confessed, and she shifted towards him, delighted, surprising him completely.

"– I have a laptop – do you want to watch the first episodes together and order a pizza? –"

Though the suggestion seemed absurd to him, he agreed, and it wasn't long before he was watching, lying next to her on her bed, with a big carton of pizza lying on their bellies, as Ash tried to tame Pikachu.

"– God, how long it's been since I've watched this –" He muttered, feeling some kind of melancholy. He heard her melodious, joyful laughter.

"– I know this episode by heart –" She said between one greedy bite of pizza and another, clearly pleased and happy.

For some reason, despite his rather solitary nature, he felt comfortable around her. Her behavior made him feel like he wasn't being judged or watched – he knew he could say at any time that he was going back to his room to rest, and she wouldn't hold it against him.

He caught himself thinking that he really liked her.

What made him involuntarily distance himself from closer acquaintanceships with actresses was that it often seemed to him that they played offstage as well – they stepped into the role of innocent, sweet, dreamy romantics or passionate unapproachable women, but in fact he had no idea if he knew them at all.

With her, however, it was different – her sudden, unexpected reactions, the glint in her eye, her smile and unthinking remarks were real.

For some reason, her character, her presence had a soothing effect on him.

He was ashamed to admit that he liked her a little too much.

He kept repeating to himself that just one more episode and he would go, but another and another flew by. Her warm, soft body was wonderfully close, their arms were pressed against each other, their heads lying side by side on the pillow, as they looked at the laptop lying between their legs.

For some reason he felt like a little child again who was about to spend the night with his mate.

He looked at her out of the corner of his eye and noticed that her eyes were closed, her lips parted slightly, her head tilted to one side in deep sleep.

Something captured him in this sight – the thought that she felt comfortable and good enough with him that she had fallen asleep.

He rose slowly, taking the large pizza box from their thighs, setting it down on the floor and rose, trying to be quiet. She twisted around and hummed something as he covered her with the duvet and turned off the lamp, feeling somehow proud of himself for treating her the way she deserved it.

It was as if he had a friend.

[cy-lindric]

I wanted to vent, but also ask an honest question. Since I was a teenager, I always wanted to work on character design. And one thing that always caught my attention was how I always preferred male character designs over female ones. My first thought was that I was always more into androgynous fashion and more masculine styles. But time passed and I came to the conclusion that it wasn't just that, and it seems that male characters can always be different things: fat, thin, handsome, ugly, short, tall, young, old, etc. and female characters, for the most part, fall into two categories: cute or sexy. I wanted some tips on how I can make female characters with more interesting designs, without having to fall into those two categories. I love your work and you managed to make someone else like the three musketeers <3<3

Hello ! That's definitely a good question and something I think about a lot. The bias towards beauty is very strong in character design and it takes a conscious effort to diversify output in that regard.

That sort of advice might be a bit obvious, but one habit I picked up from the director on my first feature film gig was to actually "cast" characters. Without reference, we tend to go for the kind of symmetrical face and "average" features mostly out of stylistic habit. I like to look at character actors with distinct faces (I like this pinterest page that has a lot of faces in one place) but also just acquaintances or pictures of random crowds.

When designing a character, at first I'm always building a big reference board trying to decide what Type of Guy (gender neutral) I'm going for, trying use photos rather than other people's art, because I want to rely on automatics and graphic symbols as little as possible. Whether I'm designing a man or a woman or other, I use references of fashion styles and people across the board in terms of gender so I keep the scope open. Sometimes a character ref board for me will be a picture of one of my aunts next to a bunch of screenshots of Columbo. In my experience, a lot of the times, it's mostly about going with styles and archetypes the same way you would for a male character, and switching it up somewhere along the way by looking at real women in your life and beyond as a grounding mechanism. Sometimes that will mean changing almost nothing, because the borders between genders and how you characterize them is blurry and fluid, and sometimes it will mean using features that are uniquely tied to some sort of female experience.

I enjoy realism and I think getting more proficient at it did help me diversify my designs (I find that more difficult to do with more minimalistic styles). Still, I am mostly a fantasy artist and in my case that comes with some amount of stylization and idealization of shapes and looks. I'm far from perfect in my biases and I'm not going out of my way to draw "ugly" characters because that doesn't mean much to me ; I try to draw inspiration from the faces of every day people and I associate it with my love for fashion. It's also worth noting the work I post here for fun is a lot more hash tag aesthetic than the stuff I do professionally where diversity is much more important.

I don't know if any of that is relevant but that's definitely an interesting topic ! I'd love to know others' perspective and tips on the matter.

[neil-gaiman]

Hello Mr Gaiman, if you don't mind, could you please tell me if the fact that you once asked an official in China that Chinese people need more sci-fi stories to fuel their imagination and hence innovation, hence their invitation of sci-fi writers and yourself many years ago, was a true conversation?

I once found this in one of your journals but somehow I couldn't find it anymore and thinking of digging deeper in your archives through China tags sound way too daunting as I just had many exams today and in one essay I cited this very example and you in it to prove a point that scientists need artists (I see writers as artists too) in this world, and now I'm kind of freaking out on whether I hallucinated the whole story or something.

Whatever it is, if you managed to read this ask, thanks a lot and hope you have a good day/night ahead!

It was in 2007 in Chengdu, at the first offically approved and endorsed SF convention. Here's Bob Sawyer talking about it on his web site at the time:

And here's Michael Swanwick:

and a Chinese article from the time:

And yes. When I asked why the disapproval of SF had turned to approval, I was told that Chinese fact-finding conversations at Apple, Microsoft and Google had revealed that most of the engineers, creators, designers and inventors had read SF when younger and had become interested in making what they made because of SF, and that the official Chinese position in 2007 was that SF should now be encouraged -- thus the convention.

From the article at the time:

The 2007 China (Chengdu) SF/Fantasy Conference hosted the event. The theme: “Science, Imagination and Future” is an ambitious Chinese effort designed to inspire public creativity toward future scientific and technological development as well as promote national insight for scientific exploration. The conference has been scheduled immediately before the World Science Fiction Convention in Yokohama, Japan.

The conference has designated August 25 as “China Imagination Day”. SF and fantasy lovers signed their names on a banner to commemorate this day during the opening ceremony.

“Imagination is an important premise for creativity. Science fiction literature plays an important role in inspiring people’s imagination and creativity,” said Li Xiuting, vice director of the International Department of the China Association for Science and Technology, at the opening ceremony on Saturday.

“Our (science fiction) words become the world and our words become places that you can visit. They become books and stories that inspire people. It is both surprising and reassuring to know by accident that the places have helped to make a future we are now living. Places like Microsoft and Google, Apple and places like MIT are packed with science fiction readers and fantasy readers,” Neil Gaiman said on Saturday.

[spontaneousmusicalnumber]

I'm watching the 2004 Count of Monte Cristo anime (Gankutsuou) and. It's so incredibly camp I'm having a GREAT time.

So for those unfamiliar with the original novel, it's a revenge story from 1844. Basically a man escapes an awful fate and then systematically ruins the life of everyone who tried to ruin his, who just so happen to be some of the most powerful people in France.

This anime DOES follow this plot, and although I am not finished I hear from those who know the novel that it's one of the better adaptations. However the art and worldbuilding choices are INSANE

It's told from an outsider POV, with some new characters invented for the show

It adds in plot points from Bram Stoker's Dracula

The titular Count is a magic space vampire

It's in the year 5000

It's a space opera

It still mainly takes place in France

Except Marseille is almost like. a different country that's shameful to even associate with

You can get the stock market information beamed directly into your brain, but all communication is done via paper letters.

There are intra-galactic spaceships and one can vacation on the moon, but most land transport is via horse and buggy.

The horses can be robots though.

The artists of 20 years ago were really pushing the limits of what CGI integration with anime could be and, to be honest, it rocks

It's got some of the best animated character acting I've ever seen

It's absolutely full of queer themes and subtext that, according to the director, was fully intentional AND it's handled really well especially for 2004

I'm watching with a friend and we're only halfway through but this is already one of my favorite anime of all time. There's giant fighting space robots in the ED and I'm on the edge of my seat to find out when they show up.

[opencommunion]

The producer, artistic director, and an educator at The Freedom Theatre in Jenin were kidnapped alongside over 100 other Palestinians today (13 Dec 23). The Freedom Theatre is a hub of cultural resistance and artistic community in the occupied West Bank.

Join me in calling on theatre institutions to demand the immediate release of these kidnapped artists. Here's the email I'm sending; feel free to copy but please adjust the phrasing to avoid spam filters: "Today in Jenin refugee camp, The Freedom Theatre's artistic director Ahmed Tobasi, producer Mustafa Sheta, and acting teacher Jamal Abu Joas were taken hostage by the Israeli army alongside over one hundred other Palestinian civilians. This follows the murder of three Freedom Theatre artists in the last few weeks: Yamen Jarrar (17), Jehad Naghniyeh (26), and Mohammed Matahen (30). The global theatre community must stand up in support of artists persecuted by the occupation regime. There is extensive documentation of torture in Israeli occupation detention centers. I urge [name of organization] to issue a public statement demanding the immediate release of these hostages. Here's a recent article about The Freedom Theatre's work with traumatized children: [AJ link above]" I'm also adding a brief statement from my perspective as a theatre artist, expressing my disappointment in my local and national theatre scene for its silence. If you're a theatre artist or theatre-goer I encourage you to do the same! The international and US institutions I'm emailing: International Society for the Performing Arts - dbaile@ispa.org, mdriscoll@ispa.org, rjohnson@ispa.org, zcheng@ispa.org International Theatre Institute - info@iti-worldwide.org, hessa@cpo.fujairah.ae International Amateur Theatre Association - secretariat@aitaiata.net Theatre Without Borders - info@theatrewithoutborders.com ASSITEJ - president@assitej-international.org, sg@assitej-international.org, chris@assitej-international.org International Federation for Theatre Research - marcus.tan@nie.edu.sg IDEA- info@idea-austria.org International Schools Theatre Association - office@ista.co.uk, tom@ista.co.uk, helen@ista.co.uk, keriann@ista.co.uk Theatre for Young Audiences USA - info@tyausa.org, sbfala@gmail.com, saramorgulis@gmail.com American Association of Community Theatre - quiana@aact.org, david@aact.org, dvancleave@aact.org American Theatre Wing - mailbox@americantheatrewing.org, rachel@americantheatrewing.org American Theatre Magazine - rwkendt@tcg.org, ksmith@tcg.org, apierson@tcg.org, jpierce@tcg.org American Alliance for Theatre and Education - heidischo@gmail.com American Society for Theatre Research - president@astr.org, info@astr.org Theater of War - marjolaine@theaterofwar.com, bryan@theaterofwar.com Actors' Equity - jrice@actorsequity.org, kshindle@actorsequity.org, wcarter@actorsequity.org, abundonis@actorsequity.org The Broadway League - league@broadway.org PEN America - info@pen.org, education@pen.org Please also email organizations where you live, and any personal contacts in the performing arts. You can also tag organizations in the comments of The Freedom Theatre's posts on ig @.thefreedomtheatre

[tangibletechnomancy]

The (Personal) Is (Political)

~7 hours, Dall-E 3 via Bing Image Creator, generated under the Code of Ethics of Are We Art Yet?

Or, Dear Microsoft and OpenAI: Your Filters Can't Stop Me From Saying Things: An interactive exercise in why all art is political and game of Spot The Symbols

A rare piece I consider Fully Finished simply as a jpeg, though I may do something physical with it regardless. "Director commentary" below, but I strongly encourage you to go over this and analyze it yourself before clicking through, then see how much your reading aligns with my intent.

Elements I told the model to add and a brief (...or at least inexhaustive) overview of why:

Anime style and character figures - Frequently associated with commercial "low" art and consumer culture, in East Asia and the English-speaking world alike, albeit in different ways - justly or otherwise. There is frequently an element of racism to the denigration of anime styles in the west; nearly any American artist who has taken formal illustration classes can tell you a story of being told that anime style will only hinder them, that no one will hire them if they see anime, or even being graded more harshly and scrutinized for potential anime-esque elements if they like anime or imply that they may like anime - including just by being Asian and young. On the other hand, it is true that there is a commercial strategy of "slap an anime girl on it and it will sell". The passion fans feel for these characters is genuine - and it is very, very exploitable. In fact, this commercialization puts anime styles in particular in a very contentious position when it comes to AI discussions!

Dark-skinned boy with platinum and pink [and blue] hair - Racism and colorism! They're a thing, no matter how much the worst people in the world want you to think they're long over and "critical race theory" is the work of evil anti-American terrorists! I chose his appearance because I knew that unless I was incredibly lucky, I would have to fight with this model for multiple hours to get satisfactory results on this point in particular - and indeed I did. It was an interesting experience - what didn't surprise me was how much work it took me to get a skin color darker than medium-dark tan; what did surprise me was that the hair color was very difficult to get right. In anime art, for dark skin to be matched with light hair and eyes is common enough to be...pretty problematic. Bing Image Creator/Dall-E, on the other hand, swings completely in the opposite direction and struggles with the concept of giving dark-skinned characters any hair color OTHER than black, demanding pretty specific phrasing to get it right even 70% of the time. (I might cynically call this yet another illustration against the pervasive copy-paste myth...) There is also much to say about the hair texture and facial features - while I was pleased to see that more results than I expected gave me textured hair and/or box braids without me asking for it, those were still very much in the minority, and I never saw any deviation from the typical anime facial structures meant to illustrate Asian and white characters. Not even once!

Pink and blue color palette - Our subject is transgender. Bias self-check time: did you make that association as quickly as you would with a light-skinned character, or even Sylveon?

Long hair, cute clothes, lots of accessories - Styling while transmasc is a damned-if-you-do, damned-if-you-don't situation, doubly so if you're not white. In many locations, the medical establishment and mainstream attitude demands total conformity to the dominant culture's standard conventional masculinity, or else "revoking your man card" isn't just a joke meant to uphold the idea that men are "better" than women, but a very real threat. In many queer communities, especially online, transmascs are expected to always be cute femboys who love pink (while transfems are frequently degraded and seen as threats for being butch), and being Just Some Guy is viewed as inherently a sign of assimilationism at best and abusiveness at worst. It is an eternal tug-of-war where "cuteness" and ornamentation are both demanded and banned at the same time. Black and brown people are often hypermasculinized and denied the opportunity to even be "cute" in the first place, regardless of gender. Long hair and how gender is read into it is extremely culture-dependent; no matter what it means to you, if anything, the dominant culture wherever you are will read it as it likes.

Trophies and medals - For one, the trans sports Disk Horse has set feminism back by nearly 50 years; I'm barely a Real History-Remembering Adult and yet I clearly remember a time when the feminist claim about gender in sports was predominantly "hey, it's pretty fucked up that sports are segregated by sex rather than weight class or similar measures, especially when women's sports are usually paid much less and given weirdly oversexualized uniforms," but then a few loud living embodiments of turds in the punch bowl realized that might mean treating trans people fairly and now it's super common for self-proclaimed feminists - mostly white ones - to claim that the strongest woman will still never measure up to the weakest man and this is totally a feminist statement because they totally want to PROTECT women (with invasive medical screenings on girls as young as 12 to prove they're Really Women if they perform too well, of course). For two, Black and brown people are stereotyped as being innately more sporty, physically strong, and, again, Masculine(TM) than others, which frequently intersects with item 1...and if you think it only affects trans women, I am sorry my friend but it is so much worse and more extensive than you think.

Hearts - They mean many things. Love. Happiness. Cuteness. Social media engagement?

TikTok - A platform widely known and hated around these parts for its arcane and deeply regressive algorithm; I felt it deserved to be name/layout/logodropped for reasons that, if they're not clear already, should become so in the final paragraph.

Computers, cameras and cell phones - My initial specification was that one of the phones should be on Instagram and another on TikTok, which the model instead chose to interpret as putting a TikTok sticker on the laptop, but sure, okay. They're ubiquitous in the modern day, for better and for worse. For all the debate over whether phones and social media are Good For Us or Bad For Us, the fact of the matter is, they seem to be a net positive-to-neutral, whose impacts depend on the person - but they do still have major drawbacks. The internet is a platform for conspiracy theories and pseudoscience and dangerous hoaxes to spread farther than ever before. Social media culture leaves many people feeling like we're always being watched and every waking moment of our lives must be Perfect - and in some senses, we are always being watched these days. Digital privacy is eroding by the day, already being used to enforce all the most unjust laws on the books, which leads to-

Pigs - I wrote the prompt with the intention that it would just be a sticker on the laptop, but instead it chose to put them everywhere, and given that I wanted to make a somewhat stealthy statement about surveillance, especially of the marginalized...thanks for that, Dall-E! ;)

Alligators - A counter to the pigs; a short-lived antifascist symbol after...this.

Details I did not intend but love anyway:

The blue in the hair - I only prompted for platinum and pink in the hair, but the overall color palette description "bled" over here anyway, completing the trans flag, making it even more blatant, and thus even more effective as a bias self-check.

The Macbook - I only specified a laptop. Hilariously ironic, to me, that a service provided through Bing interpreted "laptop" as "Macbook" nearly every time. In my recent history, 22 out of 24 attempts show, specifically, a Macbook. Microsoft v. OpenAI divorce arc when? ;) But also, let us not forget Apple's role in the ever-worsening sanitization of the internet. A Macbook with a TikTok sticker (or, well, a Tiikok sticker - recognizable enough) - I can think of little more emblematic of one of the main things I was complaining about, and it was a happy accident. Or perhaps an unhappy one, considering what it may imply about Apple's grip on culture and communications.

Which brings me to my process:

Generated over ~7 hours with Dall-E 3 through Bing Image Creator - The most powerful free tool out there for txt2img these days, as well as a nightmare of filters and what may be the most disgustingly, cloyingly impersonal toxic positivity I've ever witnessed from a tool. It wants to be Art(TM), yet it wants to ban Politics(TM); two things which are very much incompatible - and so, I wanted to make A Controversial Statement using only the most unflaggable, innocuous elements imaginable, no matter how long it took.

All art is political. All life is political. All our "defaults" are cultural, and therefore political. Anything whatsoever can be a symbol.

If you want all art to be a substance-free "look at the pretty picture :)" - it doesn't matter how much you filter, buddy, you've got a big storm coming.

[angstics]

on my chemical romance's history of racism:

(edit: i wont rewrite anything since that will create discrepancies in reblogs. however, i will include these important additions: post 1 and post 2)

cultural appropriation is a neutral term that turns negative when people co-opt a culture without consideration to its people and history, or their prejudices and privileges. the rising sun japanese flag is an imperialist symbol used during japan's occupation of other countries from 1870 to 1945 (the guardian 2019). unlike other symbols of terror, the rising sun is normalized because of the japanese government's refusal to acknowledge its history. the symbol's meaning was popularized a few years ago when people from south korea protested its legality in the 2020 tokyo olympics (bbc 2020). aware or unaware of its history, americans have long appropriated the rising sun. in part because of their fascination with japanese art, in part because of orientalism -- a fixation on asian cultures that centers "exoticism".

my chemical romance has been associated with the rising sun symbol a couple of times. frank iero used to have a tattoo of it. gerard way designed frank's killjoys outfit to include it (seen in concept art and music videos). it is often used in mcr fanart.

tokenism is when something contains limited diversity to divert criticisms for the lack of it. my chemical romance has had a very white cast of characters in their music videos and stories. in the "i dont love you" music video, a main character is in black body paint. in the casting call, they specifically asked for a white man (there is 100% an online source -- please let me know if you have it). even casting a black person for this role would place him in a video that appropriated his skin color to mark his "difference" from the light-skin female character.

the female character points to the band's main problem with tokenism. if they arent casting a white woman, theyre casting a light-skin asian woman. the woman in the "i dont love you" mv is fetishized for physical traits stereotypically attributed to east asian women: big eyes, daintiness. east asian women feature most prominently aside from the band and main characters in the "welcome to the black parade" music video and photo shoot. the photoshoot is the only place where an ashy-faced black man and ambiguously tribal? brown man are seen (brought in by photographer chris anthony per the "making of the black parade" book). the director antagonist of the danger days music videos (shown in "sing") is a japanese woman. she is the only main character of color in the music videos and the killjoys: california comics. the focus of this post is on my chemical romance, but the comics are important to showcase that the reality is never "color-blind casting" or "limited roles". it's mostly white creatives (band members and directors and artists) who ignore non-white people when they cant use them, reflected as much by gerard way years later (nyt 2019).

"japan takes over the world" is a media trope that is built on the late 20th century fear of the return of imperial japan. this trope frames japanese people as unique aggressors, feeding into "yellow peril" fears of asian people "taking over" the white race. this trope is suggested all over the danger days universe, where the corporation BL/ind overthrows the US government. the appropriation of the japanese modern flag and lettering on the killjoys outfits, the primary BL/ind villain being a japanese person who only speaks japanese in videos, the official BL/ind website having a ".jp" domain and english-japanese translations. japanese people and culture only exist in this universe to decorate and threaten.

the point of this post is not to punish my chemical romance. in the decade+ since, they have made meaningful changes -- the sing it for japan project to aid japan during the 2011 earthquake-tsunami, developing diversity in gerard's comics / tv show, a mexican-american main character in the 2020 summoning video. people of color treated as real goddamn people.

however. all these faults exist in frozen time. there is no discussion attached to the work. so anyone, fan or casual, may come across it and not notice or care for these important issues. i know all this shit and i still fail to see instances of what i highlighted. it's difficult locating not only your own prejudices but those of others. those you look up to.

"my chemical romance" is the product of many people from 2001 to 2013. many of these people were male, white, american, and/or, most radically, liberal. clearly laying out what they did wrong is important. being careful with history and culture and personhood is important. prioritizing growth is important. constantly. forever.

[ankle-beez]

To Our Guild Leadership and Staff: We are proud rank-and-file union and trade association members from every corner of our industry — working on screen, stage, set, and in the field — united in solidarity with the global call for a permanent ceasefire in Gaza and a just, lasting peace. As artists and storytellers, we cannot stand idly by as our industry refuses to tell the story of Palestinian humanity. Following SAG-AFTRA’s statement in sympathy with Israel regarding October 7, many SAG-AFTRA and sister guild members have watched in horror as the Israeli government wages a war of collective punishment on the civilian population of Gaza — killing over 40,000 Palestinians, injuring over 90,000 more, forcibly displacing 2 million people, and openly targeting members of the press and their families. As the IDF continues its assault on “safe zones,” schools, and hospitals, and as civilians in Gaza die from starvation, dehydration, and lack of medical supplies and fuel, major human rights groups have labeled these acts as war crimes, human rights atrocities, and even genocide. The UN has described Gaza as a “graveyard for children” — and estimate that by mid-July “half of the population — more than a million people — could face death and starvation.” As of now, there is no end in sight — only escalation, death, and destruction.

Despite these clear violations of human rights and Israel’s decades-long occupation of Palestinian land and lives, our union leadership has remained silent. Thus, they have made conditional which atrocities we choose to condemn and which innocent lives we choose to acknowledge and mourn. Moreover, SAG-AFTRA and nearly all our sister guilds have remained silent in the face of flagrant and unprecedented attacks on freedom of the press, including the deliberate targeting and murder of Palestinian journalists and their families by the IDF. The Committee to Protect Journalists has declared the war on Gaza “the deadliest period for journalists covering conflict since CPJ began tracking in 1992.” Some of those journalists were members of news organizations whose domestic affiliates are represented under SAG-AFTRA contracts. While SAG-AFTRA issued a public statement at the outset of the Ukraine war demanding that “journalists of all nations working in the war zone are kept safe,” its words now ring hollow if they only apply to some journalists of certain identities.

On December 13, 2023, Israeli forces attacked The Freedom Theatre in the Jenin refugee camp and kidnapped several of its members — fellow actors and directors, who have called for solidarity from theatre workers worldwide. Palestinian trade unions have called for international labor solidarity, reminding us that “the struggle for Palestinian justice and liberation is a lever for the liberation of all dispossessed and exploited people of the world.” Worldwide labor has heeded that call, including major Australian, British, Belgian, Indian, and American unions. On Nov 15, our British peer union, Equity UK, called for an immediate and lasting ceasefire, stating: “We send our solidarity to Palestinian artists suffering in the horrendous conditions created by Israeli bombing, occupation, and apartheid.” Since then, UAW International has called for a ceasefire and announced the formation of a Divestment and Just Transition working group; The Animation Guild (IATSE Local 839) became the first Hollywood union to call for a ceasefire in Gaza; five of the 10 largest American labor unions and federations have officially called for a ceasefire including the NEA (National Education Association), SEIU (Service Employees International Union), and the AFL-CIO; and unions collectively representing a majority of organized workers in the US formed The National Labor Network for Ceasefire. In July, 7 major unions representing over 6 million workers published a letter to President Biden demanding an arms embargo on Israel.

The global call for a ceasefire — from organized labor, artists and fellow SAG-AFTRA members, human rights groups, world leaders, and the majority of the American public — grows louder every day. And yet, our government continues to sponsor the Israeli forces’ assault on Palestinian civilians, and our industry union leadership still refuses to speak out. We reject this silence. Our calling as artists, news reporters, and storytellers is to bring truth to the world. To fight the erasure of life and culture. To unite for justice in the name of the most vulnerable among us. It’s exactly what we did during our historic strike in 2023.

We are the labor that built and sustains this business. When our leaders can’t stand up publicly for peace and justice, then we must do what we always do: organize, fight for change, and win. Our guild leadership must join the largest and most diverse peace movement in a generation — the integrity of our legacy demands nothing less. When confronted with genocide, oppression, and injustice, let us ring the bell for humanity and liberation. An injury to one is an injury to all. We, the undersigned members of SAG-AFTRA, IATSE, WGA, Teamsters, DGA, AEA, AFM, Hollywood Basic Crafts, CSA, PGA, and more, demand our leadership issue a public statement calling for a permanent ceasefire, release of all hostages — both Palestinian and Israeli, and immediate funding and delivery of desperately needed humanitarian aid; to speak out against the targeting and killing of innocent Palestinian civilians, health workers, and our journalist colleagues; to condemn our industry’s McCarthyist repression of members who acknowledge Palestinian suffering; and to eliminate any doubt of our solidarity with workers, artists, and oppressed people worldwide.

[vintagerpg]

John Blanche is an absolute legend. As an artist and art director, he essentially steered the rudder of Warhammer and, through it, British fantasy art, for decades. Among a pile of important work, my favorite is probably his illustrations for the four-volume Sorcery! gamebook series by Steve Jackson.

I’m not sure how the Hollow Press edition of Voodoo Forest (2022) got on my radar, but it did (and thank goodness, because through it I found Vermis). The first version appeared in 2015 and was the product of a decade of work. This edition includes additional plates and was resequenced. The back matter says it’s the project’s definitive form.

It’s impressive! There are 46 full-page illustrations, each accompanied by a second, smaller one, and one 2-page spread. In a lot of ways, Blanche’s style seems unchanged, which is a curious thing for an artist with a career spanning multiple decades (compare to Ian Miller, who has had a number of stylistic periods). It’s strange to see his work without any direct references to the worlds of Warhammer. There are subtle, perhaps reflexive visual references, like the way the demon woman’s claw hands resemble the canon Slaaneshi demonette, or how all the secondary illustrations depict a variety of folk carrying banners. Those banners serve as cryptic titles. Many are quotes from Macbeth. I assume many others reference other works, but I haven’t quite figured them out. The doomed atmosphere of the Scottish play sort of overrides all other associations for me (though there is very little in the visuals that would make me think of Shakespeare, though there is one man in a kilt).

Taken as a whole, the thing is unsettling, a sort of dream or nightmare landscape that clearly conforms to some organizing principal, but the logic of which remains obscure. There is not much gore or violence, but violence seems imminent in nearly all the plates. I would not want to explore this particular forest, but I am glad to have it on my shelf.

[disneytva]

Disney Appoints Jared Bush As Walt Disney Animation Studios New Chief Creative Officer of As Jennifer Lee Steps Down To Return To Filmaking With Frozen Franchise

Jared Bush (Disney Television Animation "Penn Zero: Part Time Hero", "Zootopia", "Moana", "Raya And The Last Dragon", "Encanto", "Moana 2", "Zootopia 2") has been named Chief Creative Officer (CCO) of Walt Disney Animation Studios effective immediately, reporting to Disney Entertainment Co-Chairman Alan Bergman, while Jennifer Lee has decided to return to filmmaking full time to steward the Frozen franchise for the studio.

As CCO, Bush will oversee the creative output of the iconic animation studio, including its films, shorts, and associated projects. (Theme-Park rides by Walt Disney Imagineering and Disney Television Animation series based on the iconic and modern films from the studio)

“I am so deeply grateful to Bob Iger and Alan Bergman for their faith in me, and thankful to Jennifer for her leadership and for her generous support as she embarks on the next chapters of Frozen,” said Bush. “Disney Animation is home to some of the greatest stories and characters of the past century, and I’m so excited to work with all of our filmmakers, artists, and Disney Animation team members as we shape the future of this legendary studio together.” “I am so deeply grateful to Bob Iger and Alan Bergman for their faith in me, and thankful to Jennifer for her leadership and for her generous support as she embarks on the next chapters of Frozen,” said Bush. “Disney Animation is home to some of the greatest stories and characters of the past century, and I’m so excited to work with all of our filmmakers, artists, and Disney Animation team members as we shape the future of this legendary studio together.”

Serving as Chief Creative Officer for Walt Disney Animation Studios since 2018, Lee will be directing and writing on Frozen 3 with Marc Smith; she will also executive produce the latter. Thirty-year Disney veteran Clark Spencer (Oscar®-winning producer, Encanto, Zootopia) continues as President, Walt Disney Animation Studios.

Said Lee: “I am so grateful to Bob and Alan for supporting my decision to return to filmmaking full time. Every day working with them is a master class in creativity, business, community, and integrity. I’ve always believed in Jared’s incredible talent and can’t wait to see, with his passion and dedication to animation, what he brings to the CCO role. For me, getting to collaborate with this studio of artists, animators, and storytellers is such a privilege, and I look forward to all we will create together.”  “I am so grateful to Bob and Alan for supporting my decision to return to filmmaking full time. Every day working with them is a master class in creativity, business, community, and integrity. I’ve always believed in Jared’s incredible talent and can’t wait to see, with his passion and dedication to animation, what he brings to the CCO role. For me, getting to collaborate with this studio of artists, animators, and storytellers is such a privilege, and I look forward to all we will create together.”

“Jared Bush is an incredible filmmaker and a talented executive who’s been a prominent creative force at Disney Animation for the past decade, and I am thrilled that he’ll be taking the reins of this storied studio,” Bergman said. “I also want to thank Jennifer Lee for her passionate leadership of the studio over the past several years — she’s made an indelible mark on both Disney Animation and the industry. I know she has so many more stories to tell, and there is truly no one better suited to oversee the continuation of the beloved story of Frozen.”

Bush has been with the studio for over a decade, receiving the Academy Award in 2022 for Encanto, for which he was both director and a writer, in the same year in which he was executive producer for the Oscar-nominated Raya and the Last Dragon. Bush was also co-director/co-writer on 2016’s Oscar-winning Zootopia, writer of the original Oscar-nominated hit Moana, and received an Emmy® Award for Zootopia+. He serves as a writer and executive producer on the upcoming Moana 2 and is directing and writing Zootopia 2, set to release Fall 2025.

Bush also served as co-creator of Penn Zero: Part-Time Hero at Disney Television Animation with Sam Levine (Warner Animation Group "DC League Of Super Pets") , the series debuted on Disney XD in 2014 and had a run of two seasons that ended in 2017.