#Dana Estes & Company

[uwmspeccoll]

Milestone Monday

On this date, August 12 in 1898, The Hawaiian flag was lowered from ʻIolani Palace in an elaborate annexation ceremony and replaced with the flag of the United States to signify the transfer of sovereignty from the Republic of Hawaii to the United States. We mark this unhappy milestone with images from writer and editor G. Waldo Browne's (1851-1930) historical work The Paradise of the Pacific; The Hawaiian Islands, published in Boston by Dana Estes & Company in 1900.

This was certainly not the first indignity suffered by the sovereign people of these islands. In 1887, King Kalākaua was forced under threat of violence to sign the 1887 Constitution of the Kingdom of Hawaiʻi. Drafted by white businessmen and lawyers, the document stripped the king of much of his authority and disenfranchised most Hawaiians and immigrant laborers and favored the wealthier, white elite.

In 1893, a group European-American business leaders and residents successfully engineered a coup d'état against Kalākaua's sister and successor Queen Liliʻuokalani and established the Republic of Hawaiʻi led by a non-indigenous oligarchy. Their goal, however, was the eventual annexation by the United States. Royalists staged a failed counter-coup in 1895. 123 troops were taken into custody as prisoners of war, along with a mass arrest of nearly 300 more men and women, including Queen Liliʻuokalani, as political prisoners intended to incapacitate the political resistance.

The coup of 1893 was certainly illegal, and this was recognized by the U.S. government following the Blount Report and the later Morgan Report. Nevertheless, the white leaders of the Republic still successfully realized their goal with the ultimate annexation by the United States on August 12, 1898. G. Waldo Browne notes that the lack of Native Hawaiians at the annexation ceremony was conspicuous:

A noticeable feature of the occasion was the small number of Hawaiians witnessing the event. They were showing their affection for their former queen, who had returned to her native land a few days before. . . . To-day their absence spoke, more forcibly for them than any words could have done, their feelings. In more ways than one the occasion reminded the spectators of a funeral, which it partly was: the last rites over the traditional government.

In 1993, Congress passed, and President Bill Clinton signed, a joint Apology Resolution regarding the 1893 overthrow: "The Congress—on the occasion of the 100th anniversary of the illegal overthrow of the Kingdom of Hawaiʻi on January 17, 1893, acknowledges the historical significance of this event which resulted in the suppression of the inherent sovereignty of the Native Hawaiian people." In 2009, however, the U.S. Supreme Court asserted that the Apology Resolution had no legally binding effects, unanimously deciding that Hawaii could not assert independent sovereignty as it had already been admitted into the Union over 30 years earlier.

View more posts on Hawaii.

View more Milestone Monday posts.

[mostlysignssomeportents]

What the fuck is a PBM?

TOMORROW (Sept 24), I'll be speaking IN PERSON at the BOSTON PUBLIC LIBRARY!

Terminal-stage capitalism owes its long senescence to its many defensive mechanisms, and it's only by defeating these that we can put it out of its misery. "The Shield of Boringness" is one of the necrocapitalist's most effective defenses, so it behooves us to attack it head-on.

The Shield of Boringness is Dana Claire's extremely useful term for anything so dull that you simply can't hold any conception of it in your mind for any length of time. In the finance sector, they call this "MEGO," which stands for "My Eyes Glaze Over," a term of art for financial arrangements made so performatively complex that only the most exquisitely melted brain-geniuses can hope to unravel their spaghetti logic. The rest of us are meant to simply heft those thick, dense prospectuses in two hands, shrug, and assume, "a pile of shit this big must have a pony under it."

MEGO and its Shield of Boringness are key to all of terminal-stage capitalism's stupidest scams. Cloaking obvious swindles in a lot of complex language and Byzantine payment schemes can make them seem respectable just long enough for the scammers to relieve you of all your inconvenient cash and assets, though, eventually, you're bound to notice that something is missing.

If you spent the years leading up to the Great Financial Crisis baffled by "CDOs," "synthetic CDOs," "ARMs" and other swindler nonsense, you experienced the Shield of Boringness. If you bet your house and/or your retirement savings on these things, you experienced MEGO. If, after the bubble popped, you finally came to understand that these "exotic financial instruments" were just scams, you experienced Stein's Law ("anything that can't go forever eventually stops"). If today you no longer remember what a CDO is, you are once again experiencing the Shield of Boringness.

As bad as 2008 was, it wasn't even close to the end of terminal stage capitalism. The market has soldiered on, with complex swindles like carbon offset trading, metaverse, cryptocurrency, financialized solar installation, and (of course) AI. In addition to these new swindles, we're still playing the hits, finding new ways to make the worst scams of the 2000s even worse.

That brings me to the American health industry, and the absurdly complex, ridiculously corrupt Pharmacy Benefit Managers (PBMs), a pathology that has only metastasized since 2008.

On at least 20 separate occasions, I have taken it upon myself to figure out how the PBM swindle works, and nevertheless, every time they come up, I have to go back and figure it out again, because PBMs have the most powerful Shield of Boringness out of the whole Monster Manual of terminal-stage capitalism's trash mobs.

PBMs are back in the news because the FTC is now suing the largest of these for their role in ripping off diabetics with sky-high insulin prices. This has kicked off a fresh round of "what the fuck is a PBM, anyway?" explainers of extremely variable quality. Unsurprisingly, the best of these comes from Matt Stoller:

https://www.thebignewsletter.com/p/monopoly-round-up-lina-khan-pharma

Stoller starts by pointing out that Americans have a proud tradition of getting phucked by pharma companies. As far back as the 1950s, Tennessee Senator Estes Kefauver was holding hearings on the scams that pharma companies were using to ensure that Americans paid more for their pills than virtually anyone else in the world.

But since the 2010s, Americans have found themselves paying eye-popping, sky-high, ridiculous drug prices. Eli Lilly's Humolog insulin sold for $21 in 1999; by 2017, the price was $274 – a 1,200% increase! This isn't your grampa's price gouging!

Where do these absurd prices come from? The story starts in the 2000s, when the GW Bush administration encouraged health insurers to create "high deductible" plans, where patients were expected to pay out of pocket for receiving care, until they hit a multi-thousand-dollar threshold, and then their insurance would kick in. Along with "co-pays" and other junk fees, these deductibles were called "cost sharing," and they were sold as a way to prevent the "abuse" of the health care system.

The economists who crafted terminal-stage capitalism's intellectual rationalizations claimed the reason Americans paid so much more for health care than their socialized-medicine using cousins in the rest of the world had nothing to do with the fact that America treats health as a source of profits, while the rest of the world treats health as a human right.

No, the actual root of America's health industry's problems was the moral defects of Americans. Because insured Americans could just go see the doctor whenever they felt like it, they had no incentive to minimize their use of the system. Any time one of these unhinged hypochondriacs got a little sniffle, they could treat themselves to a doctor's visit, enjoying those waiting-room magazines and the pleasure of arranging a sick day with HR, without bearing any of the true costs:

https://pluralistic.net/2021/06/27/the-doctrine-of-moral-hazard/

"Cost sharing" was supposed to create "skin in the game" for every insured American, creating a little pain-point that stung you every time you thought about treating yourself to a luxurious doctor's visit. Now, these payments bit hardest on the poorest workers, because if you're making minimum wage, at $10 co-pay hurts a lot more than it does if you're making six figures. What's more, VPs and the C-suite were offered "gold-plated" plans with low/no deductibles or co-pays, because executives understand the value of a dollar in the way that mere working slobs can't ever hope to comprehend. They can be trusted to only use the doctor when it's truly warranted.

So now you have these high-deductible plans creeping into every workplace. Then along comes Obama and the Affordable Care Act, a compromise that maintains health care as a for-profit enterprise (still not a human right!) but seeks to create universal coverage by requiring every American to buy a plan, requiring insurers to offer plans to every American, and uses public money to subsidize the for-profit health industry to glue it together.

Predictably, the cheapest insurance offered on the Obamacare exchanges – and ultimately, by employers – had sky-high deductibles and co-pays. That way, insurers could pocket a fat public subsidy, offer an "insurance" plan that was cheap enough for even the most marginally employed people to afford, but still offer no coverage until their customers had spent thousands of dollars out-of-pocket in a given year.

That's the background: GWB created high-deductible plans, Obama supercharged them. Keep that in your mind as we go through the MEGO procedures of the PBM sector.

Your insurer has a list of drugs they'll cover, called the "formulary." The formulary also specifies how much the insurance company is willing to pay your pharmacist for these drugs. Creating the formulary and paying pharmacies for dispensing drugs is a lot of tedious work, and insurance outsources this to third parties, called – wait for it – Pharmacy Benefits Managers.

The prices in the formulary the PBM prepares for your insurance company are called the "list prices." These are meant to represent the "sticker price" of the drug, what a pharmacist would charge you if you wandered in off the street with no insurance, but somehow in possession of a valid prescription.

But, as Stoller writes, these "list prices" aren't actually ever charged to anyone. The list price is like the "full price" on the pricetags at a discount furniture place where everything is always "on sale" at 50% off – and whose semi-disposable sofas and balsa-wood dining room chairs are never actually sold at full price.

One theoretical advantage of a PBM is that it can get lower prices because it bargains for all the people in a given insurer's plan. If you're the pharma giant Sanofi and you want your Lantus insulin to be available to any of the people who must use OptumRX's formulary, you have to convince OptumRX to include you in that formulary.

OptumRX – like all PBMs – demands "rebates" from pharma companies if they want to be included in the formulary. On its face, this is similar to the practices of, say, NICE – the UK agency that bargains for medicine on behalf of the NHS, which also bargains with pharma companies for access to everyone in the UK and gets very good deals as a result.

But OptumRX doesn't bargain for a lower list price. They bargain for a bigger rebate. That means that the "price" is still very high, but OptumRX ends up paying a tiny fraction of it, thanks to that rebate. In the OptumRX formulary, Lantus insulin lists for $403. But Sanofi, who make Lantus, rebate $339 of that to OptumRX, leaving just $64 for Lantus.

Here's where the scam hits. Your insurer charges you a deductible based on the list price – $404 – not on the $64 that OptumRX actually pays for your insulin. If you're in a high-deductible plan and you haven't met your cap yet, you're going to pay $404 for your insulin, even though the actual price for it is $64.

Now, you'd think that your insurer would put a stop to this. They chose the PBM, the PBM is ripping off their customers, so it's their job to smack the PBM around and make it cut this shit out. So why would the insurers tolerate this nonsense?

Here's why: the PBMs are divisions of the big health insurance companies. Unitedhealth owns OptumRx; Aetna owns Caremark, and Cigna owns Expressscripts. So it's not the PBM that's ripping you off, it's your own insurance company. They're not just making you pay for drugs that you're supposedly covered for – they're pocketing the deductible you pay for those drugs.

Now, there's one more entity with power over the PBM that you'd hope would step in on your behalf: your boss. After all, your employer is the entity that actually chooses the insurer and negotiates with them on your behalf. Your boss is in the driver's seat; you're just along for the ride.

It would be pretty funny if the answer to this was that the health insurance company bought your employer, too, and so your boss, the PBM and the insurer were all the same guy, busily swapping hats, paying for a call center full of tormented drones who each have three phones on their desks: one labeled "insurer"; the second, "PBM" and the final one "HR."

But no, the insurers haven't bought out the company you work for (yet). Rather, they've bought off your boss – they're sharing kickbacks with your employer for all the deductibles and co-pays you're being suckered into paying. There's so much money (your money) sloshing around in the PBM scamoverse that anytime someone might get in the way of you being ripped off, they just get cut in for a share of the loot.

That is how the PBM scam works: they're fronts for health insurers who exploit the existence of high-deductible plans in order to get huge kickbacks from pharma makers, and massive fees from you. They split the loot with your boss, whose payout goes up when you get screwed harder.

But wait, there's more! After all, Big Pharma isn't some kind of easily pushed-around weakling. They're big. Why don't they push back against these massive rebates? Because they can afford to pay bribes and smaller companies making cheaper drugs can't. Whether it's a little biotech upstart with a cheaper molecule, or a generics maker who's producing drugs at a fraction of the list price, they just don't have the giant cash reserves it takes to buy their way into the PBMs' formularies. Doubtless, the Big Pharma companies would prefer to pay smaller kickbacks, but from Big Pharma's perspective, the optimum amount of bribes extracted by a PBM isn't zero – far from it. For Big Pharma, the optimal number is one cent higher than "the maximum amount of bribes that a smaller company can afford."

The purpose of a system is what it does. The PBM system makes sure that Americans only have access to the most expensive drugs, and that they pay the highest possible prices for them, and this enriches both insurance companies and employers, while protecting the Big Pharma cartel from upstarts.

Which is why the FTC is suing the PBMs for price-fixing. As Stoller points out, they're using their powers under Section 5 of the FTC Act here, which allows them to shut down "unfair methods of competition":

https://pluralistic.net/2023/01/10/the-courage-to-govern/#whos-in-charge

The case will be adjudicated by an administrative law judge, in a process that's much faster than a federal court case. Once the FTC proves that the PBM scam is illegal when applied to insulin, they'll have a much easier time attacking the scam when it comes to every other drug (the insulin scam has just about run its course, with federally mandated $35 insulin coming online, just as a generation of post-insulin diabetes treatments hit the market).

Obviously the PBMs aren't taking this lying down. Cigna/Expressscripts has actually sued the FTC for libel over the market study it conducted, in which the agency described in pitiless, factual detail how Cigna was ripping us all off. The case is being fought by a low-level Reagan-era monster named Rick Rule, whom Stoller characterizes as a guy who "hangs around in bars and picks up lonely multi-national corporations" (!!).

The libel claim is a nonstarter, but it's still wild. It's like one of those movies where they want to show you how bad the cockroaches are, so there's a bit where the exterminator shows up and the roaches form a chorus line and do a kind of Busby Berkeley number:

https://www.46brooklyn.com/news/2024-09-20-the-carlton-report

So here we are: the FTC has set out to euthanize some rentiers, ridding the world of a layer of useless economic middlemen whose sole reason for existing is to make pharmaceuticals as expensive as possible, by colluding with the pharma cartel, the insurance cartel and your boss. This conspiracy exists in plain sight, hidden by the Shield of Boringness. If I've done my job, you now understand how this MEGO scam works – and if you forget all that ten minutes later (as is likely, given the nature of MEGO), that's OK: just remember that this thing is a giant fucking scam, and if you ever need to refresh yourself on the details, you can always re-read this post.

The paperback edition of The Lost Cause, my nationally bestselling, hopeful solarpunk novel is out this month!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/09/23/shield-of-boringness/#some-men-rob-you-with-a-fountain-pen

Image: Flying Logos (modified) https://commons.wikimedia.org/wiki/File:Over_$1,000,000_dollars_in_USD_$100_bill_stacks.png

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

[gracehosborn]

July

I was working on a scene within The American Icarus earlier today set In February, 1776. However as I was hitting another wall of writer’s block I was reminded that Independence Day is fast approaching, and how it was funny that I was working on TAI right then. But then I started to remember all the stuff that went down any given July for Hamilton (which I will eventually write into the series) and it hit me that July was really not this man’s best month. Case in point, in chronological order of course:

July 12th, 1776: In an attempt to fight off warships which had sailed up the Hudson that many other companies neglected in light of the recent celebrations over the publication of the Declaration of Independence, one of Hamilton’s four six-pound cannons exploded (why is unclear). The explosion killed between 1 and 6 men, and injured between 1 and 5.

July 1st, 1778: According to an account left by John Laurens, he, Hamilton, and General Baron von Steuben and his men were nearly taken prisoner by a company of British dragoons when they accidentally encountered them.

July 4th, 1779: Hamilton is informed via a letter written on this date by John Brooks that according to an unnamed person (who would be revealed to be William Gordon), a Francis Dana had stated that in a coffee house in Philadelphia, Hamilton had declared that “it was high time for the people to rise, join General Washington, and turn Congress out of doors.” This of course enraged Hamilton, who promptly sent Dana a letter on July 11th. This opening of correspondence would lead to Hamilton threatening duels.

July 2nd-4th, 1780: In a letter to his future wife, Elizabeth Schuyler, Hamilton comments that Washington had “half consented” to him traveling to Pennsylvania to meet with Laurens who was then a prisoner of war. However, it is unclear and even unlikely, that Hamilton was able to meet with Laurens at this time.

July 18th, 1795: Upon the announcement that a protest was to be held against the Jay Treaty, Hamilton positioned himself to create a counter-protest. However, his audience was less than considerate, and overpowered his speech; a rock being claimed to have been thrown at Hamilton’s head. Angered, Hamilton then stormed off, and within the hour in an attempt to stop an argument he encountered, more were created, all resulting in Hamilton taking up challenges to duels—even going as far as to challenge the entire Republican Party (or as he called them according to accounts, “the detestable faction”) to duels.

July 11th, 1797: After information of the Reynolds Affair leaked, and upon realizing he had never received a confirmation of secrecy from James Monroe who was present when he had been forced by questioning to reveal the affair and present documents, Hamilton arrived with his brother-in-law, John Barker Church, to confront Monroe. The conversation quickly became heated, with both Hamilton and Monroe jumping up from their chairs each prepared to grab pistols and meet on a dueling ground. This affair of honor was stopped however by Monroe’s friend who managed to calm the two seething men down.

July 11th, 1804: After weeks of correspondence between Hamilton, Aaron Burr, and their second’s Nathaniel Pendleton and William Van Ness, Hamilton met Burr on a cliff side in Weehawken, New Jersey to settle an issue of honor originating from comments Hamilton claimed he could not recall at a dinner he attended back in March. It is unclear of the actual details as to what occured on this dueling ground, but while Burr would walk away to return to his home and share a breakfast with a friend, Hamilton would leave with a mortal injury.

July 12th, 1804: Surrounded by the presence of his family and friends, Hamilton passed away about 2 p.m., EST, from the injury received the previous day.

See? Truly wild. I am writing this late at night, so if there is something I messed up on or missed entirely, please don’t hesitate to let me know. This is just a silly observation with all the stuff I have to keep tabs on in working on The American Icarus lol.

[the-dana-real-estate]

Dana Mota: A Trailblazer in California’s Real Estate Market, Elevating Client Experience and Industry Standards

Dana Mota: A Trailblazer in California’s Real Estate Market, Elevating Client Experience and Industry Standards

In the competitive world of California real estate, where market trends shift quickly and client demands grow increasingly complex, having a knowledgeable, dedicated, and experienced agent can make all the difference. Dana Mota has positioned herself as one of the top real estate professionals in the state, providing her clients with unparalleled service, expert guidance, and outstanding results. Featured in Grit Daily list of the top 10 female real estate agents in California for 2024, Dana Mota is redefining excellence in California’s real estate landscape. The Journey to Real Estate Success Dana Mota’s career in real estate began with a vision to not only help people find homes but to help them realize their dreams. Her passion for real estate started at a young age, and over the years, she has fine-tuned her skills in understanding market trends, client needs, and property values. Specializing in luxury homes, new developments, and investment properties, Dana brings a comprehensive approach to her work, ensuring her clients receive the best advice and outcomes possible. Unmatched Expertise and Market Knowledge What sets Dana apart from other agents is her deep understanding of California’s diverse real estate markets. From the bustling urban centers of Los Angeles and San Francisco to the serene suburbs and coastal enclaves, Dana has successfully navigated her clients through complex transactions in varying market conditions. Her ability to assess property values, anticipate market shifts, and negotiate favorable terms has earned her a reputation for being both strategic and results-driven. Her keen eye for detail and understanding of the local market also allows her to find properties that meet not only her clients' needs but also their long-term investment goals. Dana’s insight into the ever-evolving real estate landscape ensures that her clients can make informed decisions, whether they are first-time homebuyers or seasoned investors. A Client-Centered Approach One of Dana Mota’s greatest strengths is her client-centered approach. Real estate is often considered one of the most significant financial decisions in a person’s life, and Dana approaches each transaction with the care and professionalism that reflects this understanding. She prioritizes her clients’ needs and works tirelessly to ensure that they are not only satisfied but also confident in their decisions. Dana is known for her excellent communication skills and her ability to make even the most complex real estate processes feel seamless. Whether negotiating a deal or offering advice on market trends, Dana ensures that her clients are always informed, comfortable, and empowered. Her transparency and dedication have earned her a loyal client base and numerous referrals, a testament to her exceptional service.

Leveraging Technology for Modern Real Estate Solutions In today’s fast-paced digital world, technology plays an integral role in the real estate industry. Dana Mota has embraced this shift, utilizing advanced tools and strategies to better serve her clients. From virtual tours and digital marketing campaigns to cutting-edge property search platforms, Dana leverages technology to streamline the buying and selling process. She also offers her clients access to a personalized, agent-branded and company-branded mobile app, which provides realtors and loan officers with the tools needed to manage new home transactions efficiently. This app allows for real-time updates, seamless communication, and simplified documentation, ensuring a smooth and stress-free experience for both buyers and sellers. A Leader in Female Real Estate Professionals In a field traditionally dominated by men, Dana Mota stands out as a trailblazer among female real estate professionals. Featured in Grit Daily's list of the top 10 female real estate agents in California for 2024, her success and influence have earned her recognition as one of the top female agents in California. Her leadership, combined with her commitment to uplifting other women in the industry, has made her a role model for aspiring female realtors. Dana's ability to balance empathy with a strong business acumen allows her to connect with her clients on a personal level while delivering exceptional results. Giving Back to the Community Beyond her work in real estate, Dana is passionate about giving back to the community. She is involved in various philanthropic efforts, supporting housing initiatives, education programs, and community development projects throughout California. Dana believes that her success in real estate is deeply tied to the well-being of the communities she serves, and she actively works to make a positive impact both professionally and personally. The Future of Real Estate with Dana Mota As Dana Mota continues to grow her real estate business, she remains focused on staying ahead of industry trends and expanding her portfolio of satisfied clients. With her client-first mentality, expert market knowledge, and innovative approach to real estate, Dana is set to continue her trajectory as a leading figure in California's real estate market for years to come.

[cavenewstimes]

UFC 296 bonuses: Josh Emmett earns $50,000 for ‘Knockout of the Year’ contender

MMA Fighting – All PostsRead More Filed under: ByJed Meshew Dec 17, 2023, 2:22am EST / new Josh EmmettPhoto by Sean M. Haffey/Getty Images UFC 296 saw five fighters walk away from Las Vegas with some extra money on the last UFC fight card of the year. On Saturday, following UFC 296, UFC CEO Dana White announced at the post-event presser that the company awarded a “Fight of the Night” bonus…

[universomovie]

Kim Kardashian faz capa da revista TIME em recortes ousados

JOANA ELIZABETH Kim Kardashian na capa das 100 empresas mais influentes da revista TIME para julho de 2023. Foto: Dana Scruggs para TIME Arevista TIME acaba de revelar a capa da edição Most Influential Companies, e uma das estrelas é Kim Kardashian , co-fundadora da SKIMS . Este próspero negócio de soluções de desgaste tem feito ondas na indústria, alcançando um sucesso notável com ganhos…

[abcnewspr]

HIGHLIGHTS FOR ABC NEWS’ ‘GOOD MORNING AMERICA,’ DEC. 26-31

The following report highlights the programming of ABC’s “Good Morning America” during the week of Dec. 26-31. “Good Morning America” is a two-hour, live program anchored by Robin Roberts, George Stephanopoulos and Michael Strahan, and Ginger Zee is the chief meteorologist. The morning news program airs MONDAY-FRIDAY (7:00-9:00 a.m. EST) on ABC.

Highlights of the week include the following:

Monday, Dec. 26 — Dr. Kellyann Petrucci cooks and talks new cookbook (“Bone Broth Breakthrough”); “GMA” has a first look at ABC News special “The Year: 2022” with breakout stars; actor Ashton Sanders on new film (“I Wanna Dance with Somebody”); actor Ramón Rodríguez joins “GMA” for New Year’s Rockin’ Eve series

Tuesday, Dec. 27 — TikTok “Financial Feminist” creator Tori Dunlap with financial tips for 2023; “GMA” presents wellness tips for the new year; TV personality and wellness expert Lo Bosworth talks new book (“Love Yourself Well”); a performance by Bailey Zimmerman

Wednesday, Dec. 28 —Journalist Jessica Grose on new book (“Screaming on the Inside”); PEOPLE’s Editor-in-Chief Wendy Naugle and powerlifter Tamara Walcott (“Beyond the Scale”); fashion stylist Erica Wark joins Countdown to New Year’s series with last-minute looks for the holiday; author Alex Elle on new book (“How We Heal”); “GMA” Gives Back series spotlights boxing coach 

Thursday, Dec. 29 — Countdown to New Year’s series continues with cleaning tips; TV personality Ryan Seacrest joins “GMA” for New Year’s Rockin’ Eve series; ABC e-commerce editor Tory Johnson on how “GMA” viewers impacted Deals and Steals companies; a performance by Alexander Ludwig

Friday, Dec. 30 — Cooking teachers Claudine Watt and Dana Kotler on recipes for the new year; TV personality Jesse James joins “GMA” for New Year’s Rockin’ Eve series 

Saturday, Dec. 31 – ABC News correspondent Reena Roy on fitness tips for the new year; “GMA” Christmas at Disney World

ABC Media Relations

Brooks Lancaster 

Brooks.Lancaster@abc.com

-- ABC --

[sisterspooky1013]

Only One Choice, Part 2, Chapter 17

Read it here on AO3 / Tagging @today-in-fic

“We should get champagne or something, to celebrate,” Scully says, her eyes roving over the menu.

After three weeks of rehab, Teena Mulder has finally been able to move home, though she’s under the constant care of an in-home nurse. Knowing that she’s back in her own space, no longer the medical setting that made her miserable, is a huge weight off Mulder’s shoulders. This is why they’re out to dinner, celebrating a hopeful return to what feels like normal.

“Only if you’re driving home,” Mulder replies playfully, “you know what bubbly does to me.”

She gives him a flirtatious smirk. “Yes, I do.”

“Dana?” someone calls out, and they look over to see two women. One is tall and slim with light olive-toned skin and brunette shoulder-length hair. The other is significantly shorter, Latina, with thick hips and an ample bustline, her dark hair cascading down her back.

“Monica, hi,” Scully replies warmly to the tall woman. She turns to the shorter one, “you must be Dahlia.”

“Guilty as charged,” the short woman answers jovially with a heavy Spanish accent.

“This is my boyfriend, Fox Mulder,” Scully continues, gesturing to him, “Mulder, this is Monica, I’ve told you about her.”

Mulder nods in understanding. Scully has often mentioned a woman she regularly has coffee and lunch with who works in VICAP.

“Nice to finally meet you,” Mulder says, offering his hand to Monica.

She takes his hand with a firm grip, then gestures to the short woman, “this is my partner, Dahlia.”

Mulder and Scully both greet Dahlia with handshakes.

“Well, we’ll leave you to your meal, it was nice to run into you,” Monica says.

“Would you like to join us? We haven’t even ordered yet,” Scully offers, giving Mulder a quick glance to confirm that this is okay. He nods almost imperceptibly.

“Oh, we don’t want to impose,” Monica answers.

“Not at all,” Mulder jumps in, correctly picking up that Monica is worried about imposing on him, not Scully, “I’d love to finally get to know this mysterious VICAP woman Scully is always talking about.”

Monica smiles and he moves to the chair beside Scully so she and Dahlia can occupy the other two. They order champagne and appetizers, and he finds the two women to be very pleasant company.

“So, you work in VICAP too, then?” he asks Dahlia, and she gives him a confused look.

“No, I work at a little flower shop in Alexandria,” she answers.

“Oh, sorry, I thought Monica said you were partners.”

Scully shoots him an embarrassed glare, but Dahlia laughs.

“You know, I always tell Monica she should just call me her girlfriend, but she insists on ‘partner,’” she says, looking at Monica affectionately. He can’t help but smile, realizing he’d missed the very obvious fact that they are lovers.

“Girlfriend sounds so juvenile to me,” Monica explains, “partner feels a bit more serious, and permanent.”

“It’s okay, mija,” Dahlia continues, “you can call me your partner, hasta el día en que puedas ser mi esposa.”

Monica beams at her, and while he didn’t understand a word of that, it’s plainly clear that they are very much in love.

Appetizers come and go, flutes of champagne are emptied and refilled and a second bottle is ordered. Scully brings up Monica’s education and her experiences working at the New Orleans field office, and she and Mulder carry on a conversation about the change in VooDoo practices over the course of generations while Scully and Dahlia discover that they have similar taste in literature. Dahlia is telling a story about reading a Spanish translation of Jane Eyre as a teenager and how she still, to this day, has a hard time not calling him “Señor Rochester,” when the waiter brings by the check and Mulder snatches it away just as Dahlia was reaching for it.

“My treat,” Mulder says, pulling out his wallet.

Dahlia gives Monica a look, saying “me gusta este chico,” and Mulder chuckles.

“That I understood,” he quips, and they all laugh.

Back at the apartment, they get ready for bed. Scully is standing at the sink brushing her teeth when Mulder slinks up behind her, slipping his hands onto her hips and dipping his head down to kiss her neck.

“Mmm, there’s that champagne,” she says, the words garbled around her toothbrush.

“It’s not that champagne makes me want you, Scully. I always want you. It just makes me a little more bold,” he explains, trailing his fingers down to the hem of her night shirt and lifting it enough to get a look at her panties.

She swats his hand away. “Let me finish brushing my teeth,” she chastises, and he retreats to the bedroom.

She joins him a few minutes later, slipping under the sheets and draping her bare leg over his. He lifts his arm so she can burrow against his torso, her head on his chest. He rubs his hand across her back, eliciting a contented sigh.

“So, what did you think of Monica?” she asks, her fingertips on his ribcage moving in small circles.

“I really like her, I can see why you two hit it off,” he answers.

“She reminds me a little of you, actually,” she says, and he can feel her smile against his skin. “She has some...out there ideas.”

“Am I not talking enough about cryptids at home, Scully? You had to go find a friend to supplement?” he asks playfully, dipping his fingers into her armpit briefly in a threat to tickle her.

She clamps her arms against her sides and giggles. “We don’t talk much about that, but when I first met her she told me about my aura, so I figured you two would have some things in common.”

“That sounds more like Missy’s purview,” he comments, and then they fall silent for a moment.

“I’m actually really glad we ran into her,” Scully begins, running her hand down his abdomen to rest just beneath his belly button. “There’s something I’ve been thinking about and I wasn’t sure how to bring it up without you having some context.”

“Scully, if you’re about to suggest we have a foursome with Monica and Dahlia, I’m going to owe Frohike five hundred bucks,” he interjects.

She scoffs, “in your dreams, Mulder.”

“I think you mean Melvin.”

“Well, sorry Melvin, but that’s not what I was thinking about.” Her thumb hooks just beneath the elastic of his boxers, his happy trail tickling her skin.

“Okay, sorry, what were you thinking about?”

“What if,” she begins, dragging her finger back and forth under the fabric, “Monica was your partner. On the X files.”

He puts his hand over hers to still the movement, pulling away a bit so she’ll look at him.

“What do you mean, Scully?” He feels a rush of adrenaline, though he’s not yet sure if it’s from excitement or fear.

“I mean, she’s open to...unexplainable phenomena. The two of you get along quite well, and she wouldn't try to debunk your work or scoff at your theories. You said they might let you reopen them if you had a partner you could work with, and I think Monica might be that person.”

He considers this for a moment. “Who’s to say she’d even want to, she’s assigned to VICAP-”

“She hates VICAP,” Scully interjects, “it’s a bunch of macho men trying to one-up each other. I know she’d be happy to be reassigned, and to work out of the Hoover building. She and Dahlia live in Palisades; her commute sucks.”

His mind is reeling, but he doesn’t want to get ahead of himself. “I don’t even know where we’d start, Scully. It seems so unlikely.”

“Just ask for a meeting with AD Skinner. If you think it would help for Monica to be a part of that meeting, I know she’d be happy to attend. I’ve told her a bit about The X files and I wouldn’t even bring this up with you unless I was sure she’d be interested. I can talk to her about it on Monday, if you want to give it a shot.”

He looks up at the ceiling, eyebrows stitched in thought. Hope pricks at the corners of his mind, but he knows well enough not to let it take root; he’s been disappointed too many times before. He looks over at Scully, her expression holding all the hope that he won’t allow himself to feel.

“Why are you doing this?” he asks gently.

“Because I want you to be happy,” she says earnestly, pulling her hand from beneath his and bringing it to his cheek, “from the moment I met you, I saw how you light up when you talk about The X Files. If there’s a chance you can investigate them again, I want to pursue it.”

He sighs, a tender smile tugging at his lips. He turns on his side, pushing his palms under her ass and pulling her on top of him as she giggles.

“Okay, talk to Monica,” he says, sliding his hands under her sleep shirt and up her bare back, “I’ll email Skinner on Monday.”

She smiles at him, self-satisfied and victorious.

“Now, about that champagne,” he says, pulling her down for a kiss.

———

She nervously checks her email every two minutes, aggressively clicking the send/receive button. Monica and Mulder were meeting with AD Skinner at 11:00am and it’s now almost 1:00pm and she hasn’t heard anything. That could either be a very good sign, or a very bad one. She has class in ten minutes and needs to head over to the lecture hall to prepare. She refreshes it one more time, and an email pops up.

From: fmulder@fbi.gov

Sent: September 18, 1997 12:51pm

To: dscully@fbi.gov

Subject: Maybe good news?

He didn’t say no, but he didn’t say yes, either. He asked us about 800 questions and then said he had to run it by the section chief. My impression is that he wants to make it work, but obviously it’s not totally within his control.

Fingers crossed. Hopefully we’ll know by Friday.

She heaves a big sigh, a cautious smile playing on her lips. She shoots him a quick response and then makes her way to class, praying all the way that the answer will be yes.

———

She’d taken that Friday off, for no reason in particular. Ever since Mulder had effectively moved in with her, she liked to take random weekdays off here and there just to have some time to herself. She’d spent the afternoon reading, re-arranging her spice cupboard, and making space for Mulder to have half her dresser instead of just one drawer. She’s sitting on the floor of the bedroom, surrounded by neatly folded stacks of T-shirts and pajama pants, when she hears the front door open. She checks her watch; it’s only 3:00 pm, too early for Mulder to be home.

“Hello?” she calls out nervously.

The bedroom door swings open and Mulder is there, his chest heaving and a dopey smile on his face.

“Is everything okay?” she asks, “what are you doing home?”

“It was approved,” he says breathlessly, apparently having run from wherever he parked the car.

“What was approved?” she asks, standing.

“The X Files, Scully. They’re reopened, effective Monday, with me and Reyes as the assigned agents,” he says, his smile broadening even further.

Her mouth drops open in disbelief, a surprised smile forming on her lips. She had held out hope, but she was also very aware that the chances were slim. He crosses the room, scooping her up in his arms, her legs wrapping around his hips.

“It never would have happened if it wasn’t for you,” he says, adoration in his eyes.

She kisses him, and he turns to lay her on the bed, shedding his suit jacket and tossing it on the floor. Moving quickly, desperately, he tugs at the waistband of her pants, stripping them off along with her panties, and pushes her shirt up to expose her breasts. He begins kissing her neck, down to her chest and belly, pausing intermittently to speak words of affirmation and gratitude until he reaches the apex of her thighs and is quiet.

He laps at her tenderly, humming and sighing as her body catches up and she feels the flush of desire form in her belly. She pushes her fingers into his hair, scraping gently at his scalp in encouragement as he flicks his tongue against her opening and she bucks her hips in response. His thumb swipes gently over her clit as he pushes his tongue inside her, licking at her increasingly slick walls and making her whimper. After a few minutes, he switches to his fingers inside her and his tongue at her clit. Swirling and sucking until she commands him not to stop, he holds steady as she falls apart against his lips, flexing his fingers deep inside to draw it out. Finally she taps on his head, and he crawls back up to plant soft kisses along her jaw.

“Consider us even,” she breathes out, eyes still closed in bliss.

“I think I might like to continue making it up to you,” he says with a nip to her earlobe, and she laughs.

“Okay, if you insist.”

[thedeaditeslayer]

‘Evil Dead: The Game’: Official Cover Art Features Ash, Henrietta, Kelly Maxwell and More!

We’ve been promised the first gameplay footage out of Summer Game Fest tomorrow (June 10), but up first we’ve been provided with the official art for Evil Dead: The Game today!

The upcoming game features Bruce Campbell as the voice of Ash Williams, plus Ellen Sandweiss‘s Cheryl Williams from The Evil Dead, Marcus Gilbert‘s Arthur from Army of Darkness, and Richard DeManincor‘s Scotty from The Evil Dead, as well as Ray Santiago‘s Pablo Simon Bolivar and Dana DeLorenzo‘s Kelly Maxwell from “Ash vs. Evil Dead.”

Several of those playable characters have made the cover art, which you can check out below. And don’t miss the gameplay reveal at 2pm EST tomorrow, Thursday, June 10!

Boss Team Games and Saber Interactive (World War Z) are behind the title.

Boss Team describes the game, “For the first time ever, the Evil Dead universe comes together in one over-the-top experience starring boomstick-brandishing, chainsaw-wielding horror hero Ashley J. Williams. Boss Team Games has entered into an epic collaboration with Renaissance Pictures, STUDIOCANAL, leading entertainment company Metro Goldwyn Mayer (MGM), and global content leader Lionsgate (NYSE: LGF.A, LGF.B) to create this one-of-a-kind game that casts players against the forces of evil that have been unleashed from the Necronomicon Ex-Mortis, with sights and sounds inspired by the films The Evil Dead, Evil Dead II: Dead by Dawn, and Army of Darkness, as well as the STARZ original “Ash vs Evil Dead” television series.”

“Work together as a team of four survivors, exploring, looting, crafting, managing your fear, and finding key artifacts to seal the breach between worlds. Or take control of the powerful Kandarian Demon to hunt Ash and his friends while possessing Deadites, the environment, and even the survivors themselves as you seek to swallow their souls.”

“Plenty of surprises await in this gore-filled battle against evil that captures the characters, horror, humor, and action from the franchise. Battle across memorable locations including the infamous cabin in the woods, brought to life with tons of terrifying visuals and all-new dialogue from Bruce Campbell. Discover more than 25 weapons, including Ash’s Gauntlet, Boomstick, and chainsaw, and advance in a variety of skill trees to grow stronger and survive in this fun co-op and PvP experience.”

Evil Dead: The Game is an upcoming co-op and PvP multiplayer title in development for PC, PlayStation®5, PlayStation®4, Xbox Series X|S, Xbox One, and Nintendo Switch.

[rndyounghowze]

And The Nominees Are… (Part 2/2)

#younghowzetheatreawards

By Ricky and Dana Young-Howze

Mays Landing, NJ

Venmo: @rndyounghowze

The nominations for the first ever Young-Howze Theatre Awards are finally here! We have been working hard since March of 2020 reviewing over a hundred and forty digital productions. We have been poring over them all since January to bring you these categories and the shows vying for them.

Let’s remind everyone what our criteria were: Because of the pandemic this year every show that we have reviewed was nominated for at least one category. We picked winners by a very specific set of criteria: What was this show attempting to do? Was it successful? Was it the most successful of all the shows that tried to do this? We apologize to anyone who thought that we would be announcing winners today. We decided that we wanted to save all of the spoilers for the live show on February 21st at 8PM EST. Please remember that even if you only get one nomination it is because we wanted to honor everyone who worked hard this year (every theatre artist who did a show this year deserves a medal). However we understand that specific nominations are useful for theatre creators in their resumes, grant applications etc.

All Nominees should receive a nomination email from us. If you haven’t gotten an email by Monday 11:59pm PST email is at rndyounghowze@gmail.com

Congratulations everyone! We are so proud of your accomplishments and amazing work. We’ve already seen shows this year that are award worthy. You all exceeded our expectations. Without further ado...

Solo Performance

“Chewie Award” For Team Behind A Solo Performance

“Blood/Sugar” by Diana Wyenn in Los Angeles, CA

“Kristina Wong For Public Office” by Kristina Wong in Los Angeles, CA

“Disenchanted: A Cabaret of Twisted Fairy Tales” by Eliane Morel at Melbourne Fringe

“All By Myself Award” For Solo Performance Of The Year

“The Bassoonist” by Sean P. Mette and Autumn Kaleidoscope at Cincinnati Fringe Cincinnati, OH

“Kristina Wong For Public Office” by Kristina Wong in Los Angeles, CA

“Sarah Palin: Rogue None” by Amanda Nicastro in NYC, NY

“What Would John Hughes Do?” by Telia Nevile at Melbourne Fringe

“Campfire Award” For Storyteller Of The Year

“Right Now” By Martin Dockery at Minnesota Fringe Minneapolis, Minnesota

“Life Underground” by Brad Lawrence at FRIGID NY in NYC, NY

“Pumpkin Pie Show” by Pumpkin Pie Show at FRIGID NY in NYC, NY

“UnterClub” by Juan Sebastian Peralta in Uruguay

“Full of Woe” by Genevieve Yosco and Sour Grapes Productions at FRIGID NY in NYC, NY

Seasons, Series and Festivals

“BIPOC HERO” For The BIPOC Creative Team Of The Year

TBA

“Worldwide Award” For Collaborative Work Of The Year

“The Art of Facing Fear Brazil” By Os Satyros in São Paulo, Brazil “The Art of Facing Fear US” Os Satyros and Company of Angels and Rob Lecrone, in co-production with Os Satyros and Darling Desperados. “The Art of Facing Fear Africa/Europe” Os Satyros and Cie Kaddu, Crown Troupe of Africa, Darling Desperados, Oddmanout Theatre Company, Portuguese Cultural Center of Mindelo, Tell-a-Tale, The Kwasha! Theatre Company, The Market Theatre Laboratory, Village Gossip Productions

“Macbeth #6” Os Satyros São Paulo, Brazil and the Center for Interdisciplinary Performance Art - Royal Birmingham Conservatoire

Enough Plays to End Gun Violence at Mile Square Theatre in Hoboken, NJ

“Down the Stream” For Digital Season of The Year

Frigid NY in NYC, NY

Combined Artform in Los Angeles, CA

“There’s No I in Theatre” For Non-Profit Theatre of The Year

Elm Street Cultural Arts Village in Woodstock, GA

Sour Grapes Productions in NYC, NY

Opal Theatre in Boise, Idaho

Know Theatre of Cincinnati in Cincinnati, OH

Mill Mountain Theatre in Roanoke, VA

“Deja Vu Award” Recurring Streaming Series Of The Year

“Tilted Frame” by Combined Artform in Los Angeles, CA

“Bingewatch and Friends” by Diana Brown and Dan Wilson in San Francisco, CA

“Reparations Show” by Kevin R Free at Frigid NY in NYC, NY

“Monologues For Us By Us” By Cincinnati Black Theatre Artists Collective in Cincinnati, Ohio

“Bard Brunch” by Sour Grapes Productions in NYC, NY

“On The Fringes” Fringe of the Year

Minnesota Fringe

Halifax Fringe

Melbourne Fringe

Montreal Fringe

Cincinnati Fringe

“The Shortie“ Short Form Festival Of The Year

“48 Hours in Harlem” By Harlem 9 in Harlem, NY

“Overnight Sensations” by Hollins Playwrights Lab in Roanoke, VA

Estrogenius Festival by FRIGID NY in NYC, NY

Fire This Time Festival at FRIGID NY in NYC, NY

Single Shows

“Weird and Worth It” For Experimental Production Of The Year

“Paul And Erika’s House Show” By Theatre Mobile at Cincinnati Fringe

“Hivemind” by Solasta Theatre at Cincinnati Fringe

“#TXT Show” by Brian Feldman at Minnesota Fringe and Melbourne Fringe

“Butterfly Effect” by Unnatural Disasters at Halifax Fringe

“New Normal” by Os Satyros in São Paulo, Brazil

“One Man Nutcracker” by Chris Davis in Philadelphia, PA

“Cabaret De Profundis” By Buntport Theatre in Denver, CO

“So Nice We Saw It Twice” Touring Show Of The Year

“Desperately Seeking The Exit” by Peter Michael Marino and PM2 at Cincinnati Fringe And Queerly Festival and Show Up, Kids! In NYC!

“Paul and Erika’s House Show” by Theatre Mobile at Cincinnati Fringe and Minnesota Fringe

“Love and Other Lures” by Dr. Dour and Peach at Cincinnati Fringe and Minnesota Fringe

“Killjoy, Ohio” by Queen City Flash at Cincinnati Fringe and Minnesota Fringe

“TXT Show By Brian Feldman at Minnesota Fringe and Melbourne Fringe

“Kristina Wong For Public Office” by Kristina Wong in Koreatown and Kirk Douglas Theatre in Los Angeles, CA

“Before Times” For Pre-Pandemic Recording Of The Year

“Petunia and Chicken” by Animal Engine at Cincinnati Fringe Cincinnati, OH

“Unrepentant Necrophile” by The ColdHarts at Cincinnati Fringe Cincinnati, OH

“Knife Slingin’” By Motz at Cincinnati Fringe Cincinnati, OH

“Occupy This!” By Rev Nuge at Cincinnati Fringe Cincinnati, OH

“Stow You Baggage” By Alexx Rouse at Cincinnati Fringe Cincinnati, OH

“Butcher Holler” by Ad Hoc Economy at Cincinnati Fringe Cincinnati, OH

“Lady Macbeth and Her Pal Megan” by Megan Gogerty at Cincinnati Fringe Festival Cincinnati, OH

“Dammit, Jim!” by Polly Esther in Toronto, CA

“A Night With The Dead” by Martha Preve and Something From Abroad at Hartford Fringe in FRIGID NY in NYC, NY

“A Christmas Carol In Harlem” by Classical Theatre of Harlem in NYC, NY

“Forbidden City” by Martin Dockery at Cincinnati Fringe Cincinnati, OH

“Practical Game Changer” For Practical Effects Of The Year

“Killjoy, Ohio” by Queen City Flash at Cincinnati Fringe Cincinnati, OH

“Zoo Motel” By Thaddeus Phillips in Columbia, South America

“A Light Touch” by Mind of a Snail at Minnesota Fringe Minneapolis, Minnesota

“Digital Game Changer” For Digital Effects Of The Year

“M-O-U-S-E” by Rory Sheridan at the Cincinnati Fringe Cincinnati, OH

“King Lear” by SF Shakes in San Francisco, CA

“War Of The Worlds” by Ben Hernandez at Cal State in Los Angeles, CA

“Claws Out! A Holiday Drag Musical” by City Theatre in Pittsburgh, PA

“18+ Allowed” For Adult Variety Of The Year

“Disenchanted: A Cabaret of Twisted Fairy Tales” by Eliane Morel at Melbourne Fringe

“Creepy Boys” by Scantily Glad at Melbourne Fringe

Red Mill Revue at Melbourne Fringe

Queers On The Fringe at Melbourne Fringe

“Reach Out“ For Immersive Production Of The Year

“Feast” by Megan Gogerty at Know Theatre of Cincinnati in Cincinnati, OH

“In Lak’Ech” by No Peeking Theatre in Jersey City, NJ

“Twelfth Night”” by Food of Love Productions in NYC, NY

“Grace Notes” For Musical Production Of The Year

“Dream &” By Sarah Willis and The Queer Feminists Next Door at Cincinnati Fringe Cincinnati, OH

“Colony” by Psophonia and Aura at Cincinnati Fringe Cincinnati, OH

“TV Tunes” by Leslie Vincent at Minnesota Fringe Minneapolis, Minnesota

“The In-Between Years” By The Champagne Drops in Minneapolis, Minnesota

“Love and Other Lures” By Dr. Dour and Peach at Cincinnati Fringe Cincinnati, OH

“Hollow” by David Kent at Edinburgh Fringe

“One Vote Won” by Nashville Opera in Nashville, TN

“Meet Me In St. Louis” By Irish Rep in NYC, NY

“Power” For Fifth-Wall Breaking Show Of The Year

“Matriarch” by Sandy Greenwood at Melbourne Fringe

Chanukahmunication by the Feldman Dynamic in Washington, DC

“Proof Of Love” By Chisa Hutchinson and BLBW in Chicago, IL

Individuals

“Magician” For Press Contact Of The Year

Emily Godfrey For FRIGID NY in NYC, NY

Liz Carman For Know Theatre of Cincinnati in Cincinnati, OH

“Tech Witch” For Tech Person Of The Year

David Svengalis for “Tilted Frame” by Combined Artform in Los Angeles, CA

Henry Bateman for Know Theatre of Cincinnati in Cincinnati, OH

“Extensions“ For Movement Artist Of The Year

“Proximity” by Pones at Cincinnati Fringe Cincinnati, OH

“Definition of Man” by DConstruction Arts at Halifax Fringe

Marina Calendar For Tree She at Estrogenius Festival NYC, NY

Nick Daniels For “Folk Dances of A Nucleic Village” at Pittsburgh Fringe Pittsburgh, PA

“You Oughta Be In Pictures” For Film Of The Year

“Proximity” by Pones at Cincinnati Fringe

“Opinions Of Men” by Ben Dudley at Cincinnati Fringe Cincinnati, OH

“Macbeth” by Gorilla Repertory Theatre in NYC, NY

“Black Emperor of Broadway” by Vision Films Inc and Egeli Productions in Provincetown, MA

“Concord Floral” by Jordan Tamanelli at Colorado State University in Fort Collins, Colorado

Zoom

“Pioneer” For Innovative Achievement Of The Year

Waiting for the Host” by Mark Palmieri in NYC, NY

“Desperately Seeking the Exit” by Peter Michael Marino in NYC, NY

“Long Zoomie” For Long-Form Zoom Play Of The Year

“3 Way Lovve” by Marcus Ma’at Atkins at Minnesota Fringe Minneapolis, Minnesota

“Im Ur Hamlet” By Genevieve Yosco and Sour Grapes Productions in NYC, NY

“Rideshare” by Reginald Edmund and BLBW in Chicago, Illinois

“Disrobed” by Steven Vlasak and Troy Peterson at Hollywood Fringe Hollywood, CA

“Sons of Liberty” by Cris Eli Blak in Louisville, KY

“Call For The Wailing Women” by Katrina D. RiChard and BLBW in Chicago, IL

“Jump!” By Charly Evon Simpson at TSU in Nashville, TN

“Short Zoomie” For Short-Form Zoom Play Of The Year

“Soup” by Rachel Carnez at Project Y Theatre in NYC, NY

“Missing Ingredient” by Colleen O’Doherty at Project Y Theatre in NYC, NY

“Pas De Deux” by Kevin Ferguson at Missouri S&T in St. Louis, Missouri

“Scaramouche and Pinochle” by Mike Moran Missouri S&T in St. Louis, Missouri

Screen Manager Of The Year

TBA

Stream Yard

“Duck“ For Streamyard Production Of The Year

“Infemous” by Infemous at the Queerly Festival and Montreal Fringe Festival

“Romeo and Juliet Virtually” By Miles Beyond Entertainment in Los Angeles, CA

“Day of the Dead Variety Show” by Something From Abroad at FRIGID NY in NYC, NY

“Latina Christmas Special Special” by Latina Christmas Special in Los Angeles, CA

Staged Production

“The Globe“ For Staged Production of The Year

“Quit While You’re Ahead” By Alexx Rouse and A-Z Productions at Cincinnati Fringe Cincinnati, OH

“Dreary Dearie” By Caitlyn Waltermire at Cincinnati Fringe Cincinnati, OH

“Hellish Reunion” by The Feral Theatre Company at Minnesota Fringe Minneapolis, Minnesota

“Polka Dots: The Cool Kids Musical” by Melvin Tunstall III at Mill Mountain Theatre in Roanoke, VA

“Titus Andronicus” by Shakespeare by the Sea in San Pedro, CA

“She Kills Monsters” by Qui Nguyen at Elm Street Arts Cultural Village in Woodstock, GA

Please Be Sure To Tune In To The Live Show on either our YouTube Channel, FRIGID NY’s YouTube, or you can go to Combined Artform’s Channel. Also follow their Facebook pages for live updates. Our social media will be taken over before and during the show by Saturday Lawson of Punchline Loading and Genevieve Yosco of Sour Grapes Productions! We can’t wait to see you there!

*****A Word From Our Sponsors*****

We have a YouTube Channel. We’re working furiously to get new videos up weekly.

https://www.youtube.com/channel/UC0M6M04VtDpqFzVLxjfrRZA

We have official merch now! Keep us fed and get gifts for the family all at the same time!

https://teespring.com/rnd-younghowze?pid=972

Wanna be a sponsor? Email us for rates at rndyounghowze@gmail.com

Check out our Social Media

Twitter: @rndyounghowze

Instagram: @rndyounghowze

Facebook: Ricky and Dana Young-Howze

[cavenewstimes]

Dana White reacts to Donn Davis claiming PFL will be ‘co-leader’ with UFC after buying Bellator: ‘It’s f****** hilarious’

MMA Fighting – All PostsRead More Filed under: ByDamon Martin Dec 3, 2023, 8:00am EST / new Photo by Chris Unger/Zuffa LLC via Getty Images It’s safe to say Dana White isn’t sweating the competition when it comes to PFL buying Bellator. After the deal was closed for the PFL’s acquisition of Bellator, company founder Donn Davis proclaimed that the merger will eventually make them a…

[rndyounghowze]

Announcing The First Ever Young-Howze Theatre Awards!

Anyone who created a show during a pandemic deserves a medal. #digital theatre #theatre #theatre2020

By Dana and Ricky Young-Howze

Mays Landing, NJ

Venmo: @rndyounghowze

We are probably the last people that you would call to do an award show. Ricky for one thing hates award shows or any awards ever. I love awards but think that the right people never get them. However, as we started reviewing digital theatre there were several qualities and acts of theatrical heroism involved that we wanted to create awards for them. We didn’t want any of these amazing works to be snubbed or forgotten. Also, we wanted to start creating the standards of what we thought digital theatre was BEFORE in-person theatre first came back and the more wealthy, privileged theatre companies started to write standards that only benefited them. This is why we’re announcing our first annual awards show. The Young-Howze Theatre Awards!

Want to know if you’re nominated? Good news! Every play that we’ve reviewed from March 13, 2020, to January 16, 2021, is a nominee. If we’ve reviewed your show before you don’t have to do anything else to be considered. We are currently going over all of the 130 plus shows from last year, and a few more new shows, and seeing which ones belong in more than 50 award categories. We have been laboriously going over each category. Winners and categories will be announced on February 1.

We are picking winners by a very specific set of criteria: What was this show attempting to do? Was it successful? Was it the most successful of all the shows that tried to do this? You’ll notice that we are avoiding the words “best” and “won” like the plague (oops wrong choice of words). Under normal conditions, if you birth a piece of theatre into this world then you are a hero that deserves a medal. No one ever asked you to do theatre so if you created this show and worked with a team to get it out there then you should wear that as a badge of honor and be proud of what you’ve accomplished. This is why we choose to focus on who was more successful. We feel that certain standards go into a truly professional production that everyone should be using and those that are most successful at achieving those standards should be awarded. Certain shows better embody this current theatre moment and we believe that kind of achievement should be awarded. For example, if multiple shows use green screen in their digital theatre productions then we are looking for the show that best uses green screen to tell their story.

As much as we want to honor artists who took a chance and created work during one of the worst periods of humanity, we also want to say that we completely understand and respect everyone who used their energy to survive this year. Creating new things is wonderful but during this pandemic, there is an art to taking care of yourself and your loved ones. We honor and respect everyone who focused their energy on self-care and self-preservation.

What can you do to help? Well for the one you can email us your nominations for best screen manager. Screen managers are a new theatre job that did not exist in the theatre way back on January 1, 2020. Now it is an essential part of every good digital theatre show. If your screen managers are amazing, we as reviewers don’t know they exist. Can you nominate friends that you think are great screen managers? Screen managers have to be nominated by email by January 15. There will be a Google form for voting starting January 16 and it will remain open until January 31.

A lot of you have been asking if you can nominate friends who produced a show last year that we didn’t review. Kind of. You and/or your friend have to email us with a link to the show. We can’t accept social media comments or direct messages because they get eaten or buried and we don’t want anyone to think we snubbed them. So email us ASAP.

Each winner will be announced via Facebook and YouTube videos and sent an email. Winners who want to participate in the actual award show will be given further instructions at that time.

We will be having our honest to goodness Award Show with speeches and everything on February 21.

Email us with any questions and nominations/submissions at rndyounghowze@gmail.com.The final deadline to submit a show is January 16 at 11:59 pm Pacific Time (23:59 GMT -8, 2:59 am EST). The show must have been performed on January 16 or earlier, not later with an early showing for us. Let’s have fun with it and celebrate all the great work that has been done in this digital theatre medium in one of the worst years for theatre ever! You are our heroes and we are so proud of each and every one of you.

*****A Word From Our Sponsors*****

We have a YouTube Channel. We’re working furiously to get new videos up weekly.

https://www.youtube.com/channel/UC0M6M04VtDpqFzVLxjfrRZA

We have official merch now! Keep us fed and get gifts for the family all at the same time!

https://teespring.com/rnd-younghowze?pid=972

Wanna be a sponsor? Email us for rates at rndyounghowze@gmail.com

Check out our Social Media

Twitter: @rndyounghowze

Instagram: @rndyounghowze

Facebook: Ricky and Dana Young-Howze

[lepetitdragonvert]

The Little Maid Who Danced to Every Mood by Helena Nyblom

Boston

Dana Estes & Company

.c. 1909

Artist : Agnes M. Stringer