#Dayna Craig

[younes-ben-amara]

الأبيات التي يتلُوها كل نرجسيٍّ كي ينام مرتاحَ البال

ما هذه المجموعة من المختارات تسألني؟ إنّها عددٌ من أعداد نشرة “صيد الشابكة” اِعرف أكثر عن النشرة هنا: ما هي نشرة “صيد الشابكة” ما مصادرها، وما غرضها؛ وما معنى الشابكة أصلًا؟! 🎣🌐 🎣🌐 صيد الشابكة العدد #89 أهلًا والسلام عليكم؛ وبسم الله. عرفت اليوم بوجود شعر يُدعى “صلاة النرجسي” أو “ابتهال النرجسي” من مقال منتقى أدناه (الذي يحكي عن لمدا سكول) يحكي المقال عن محتال (طليق السراح) يبيع الأوهام في…

[crowclubkaz]

💚👁️🕸️ In honour of The Magnus Protocol releasing today, here are some book recommendations based on The Magnus Archives Fears!! 🕸️👁️💚

Detailed list of books below the cut!

For more book recommendations, especially queer horror, check out my Bookstagram @hauntedstacks

The Buried ⚰️ - Into the Sublime by Kate A. Boorman - Stuck by Ben Young - The Luminous Dead by Caitlin Starling - The Deep by Nick Cutter

The Corruption 🦠 - What Moves the Dead by T. Kingfisher - Green Fuse Burning by Tiffany Morris - The Honeys by Ryan La Sala - She Is A Haunting by Trang Thanh Tran

The Dark 🌑 - Dead Silence by S.A. Barnes - Nightfall by Jake Halpern & Peter Kujawinski - No Power by Todd Kirby - The 5th Wave by Rick Yancey

The Desolation 🔥 - Firestarter by Stephen King - Burner by Robert Ford - Those Who Wish Me Dead by Michael Koryta - Burn the House Down by Kenna Jenkins

The End 💀 - Funeral Girl by Emma K. Ohland - Pet Sematary by Stephen King - Under the Whispering Door by TJ Klune - This Thing Between Us by Gus Moreno

The Extinction 🦴 - Lost Signals by Max Booth III - Bride of the Tornado by James Kennedy - No Safety in Numbers by Dayna Lorentz - The Rules of the Road by C.B. Jones

The Eye 👁️ - Video Palace by Maynard Wills - Episode Thirteen by Craig DiLouie - A History of Fear by Luke Dumas - The Watchers by A.M. Shine

The Flesh 🦷 - You’ve Lost A Lot of Blood by Eric LaRocca - Carnivore by Justin Boote - A Certain Hunger by Chelsea G. Summers - Tender is the Flesh by Agustina Bazterrica

The Hunt 🏹 - Hunt by Alexandra Nisneru - The Woods Are Always Watching by Stephanie Perkins - Survive the Night by Danielle Vega - The Hunger by Alma Katsu

The Lonely ☁️ - Red River Seven by A.J. Ryan - Solitude by Michael Penning - Dark Matter by Michelle Paver - We Have Always Lived in the Castle by Shirley Jackson

The Slaughter 🥩 - Manhunt by Gretchen Felker-Martin - Your Shadow Half Remains by Sunny Moraine - American Psycho by Bret Easton Ellis - The Summer I Died by Ryan C. Thomas

The Spiral 🌀 - That Darkened Doorstep by Catherine Jordan - Mind the Mirrors by Amanda Leanne - Grey Noise by Marcus Hawke - Last to Leave the Room by Caitlin Starling

The Stranger🕴️ - It Looks Like Us by Alison Ames - My Best Friend’s Exorcism by Grady Hendrix - The Deep by Alma Katsu - The Outside by Stephen King

The Vast 🪂 - From Below by Darcy Coates - Into the Drowning Deep by Mira Grant - Floating Staircase by Ronald Mafi - Nightmare Sky by Red Lagoe

The Web 🕸️ - The Taking of Jake Livingston - The Fervor by Alma Katsu - The Book of Accidents by Chuck Wendig - Come Closer by Sarah Gran

If You Like The Magnus Archives 💚 - Thirteen Stories by Jonathan Sims - Family Business by Jonathan Sims - Gas Station by Jack Townsend - Horrorstör by Grady Hendrix

[hurremsultanns]

Hürrem Sultan + The Narcissist's Prayer by Dayna Craig (also featuring Lyrics from Gaslighter by the Chicks)

for @redxluna

[identity-library]

Diverse Sexuality (TV Shows)

A:

Agents of S.H.I.E.L.D. (2013)

José "Joey" Gutierrez (Gay)

Marcus Benson (Gay)

All Saints (1998)

Charlotte Beaumont (Bisexual)

American Dad (2005)

Greg (Gay)

Terry (Gay)

Andor (2022)

Cinta Kaz (Unspecified WLW)

Vel Sartha (Unspecified WLW)

Arthur (1996)

Nigel Ratburn (Gay)

Patrick (Gay)

B:

Battlestar Galactica (2004)

Felix Gaeta (Bisexual)

Big Mouth (2017)

Ali (Pansexual)

Charles Lu (Unspecified MLM)

Connie LaCienega (Pansexual)

Elijah (Asexual)

Jayzarian "Jay" Bilzerian (Bisexual)

Jessica "Jessi" Glaser (Bisexual)

Matthew MacDell (Gay)

Maury Beverly (Pansexual)

Megan (Bisexual)

Mona (Bisexual)

Nadja El-Khoury (Lesbian)

Shannon Glaser (Lesbian)

Simon Sex (Bisexual)

Sonya Poinsettia (Bisexual)

Tyler Pico (Pansexual)

Bob's Burgers (2011)

Natalie "Nat" Kinkle (Unspecified WLW)

Brooklyn Nine-Nine (2013)

Jenny Gildenhorn (Bisexual)

Jocelyn Price (Lesbian)

Kevin Cozner (Gay)

Raymond "Ray" Holt (Gay)

Rosalita "Rosa" Diaz (Bisexual)

C:

Chicago Fire (2012)

Clarice Carthage (Bisexual)

Darren Ritter (Gay)

Emily Foster (Bisexual)

Leslie Shay (Lesbian)

Chicago Med (2015)

Lawrence Dayle (Unspecified MLM)

Peter Kalmick (Unspecified MLM)

Terry McNeal (Gay)

Code Black (2015)

Carla Niven (Lesbian)

Malaya Pineda (Lesbian)

Noa Kean (Bisexual)

Community (2009)

Craig Pelton (Unlabeled MLM)

Frankie Dart (Unspecified WLW)

Craig of the Creek (2018)

Alexis (Pansexual)

Courtney (Lesbian)

George (Gay)

Jasmine Williams (Lesbian)

Kelsey Pokoly (Lesbian)

Laura Mercer (Lesbian)

Raj (Gay)

Secret Keeper (Gay)

Shawn (Gay)

Stacks (Lesbian)

Tabitha (Lesbian)

D:

Dead End: Paranormal Park (2022)

Barney Guttman (Gay)

Logan Nguyen (Gay)

Norma Khan (Bisexual)

Zagan (Pansexual)

Doom Patrol (2019)

Kay Challis/Crazy Jane (Lesbian)

Larry Trainor (Gay)

Dr. Who (2005)

Adric (Pansexual)

Bill Potts (Lesbian)

Canton Everett Delaware ||| (Gay)

Chris Cwej (Bisexual)

Clara Oswald (Bisexual)

Elizabeth "Liz" Shaw (Bisexual)

Heather (Lesbian)

Jack Harkness (Omnisexual + Polyamorous)

Jennifer "Jenny Flint" Scarrity (Lesbian)

Madame Vastra (Lesbian)

Melony "River Song" Pond (Bisexual + Polyamorous)

Nyssa of Traken (Bisexual)

Oliver Harper (Gay)

Olivia "Liv" Chenka (Bisexual)

Patricia Haggard (Lesbian)

Rogue (Gay)

Tania Bell (Lesbian)

Tegan Jovanka (Bisexual)

Toshiko Sato (Bisexual)

Yasmin Khan (Queer)

E:

Equestria Girls (2017)

Sunset Shimmer (Bisexual)

ER (1994)

Courtney Brown (Lesbian)

Kerry Weaver (Lesbian)

Kim Legaspi (Lesbian)

Maggie Doyle (Lesbian)

Sandy Lopez (Lesbian)

Euphoria (2019)

Cal Jacobs (Bisexual)

Elliot (Unlabeled MLM)

Jules Vaughn (Unlabeled WLW)

Nate Jacobs (Unspecified MLM)

Rue Bennett (Lesbian)

Ever After High (2013)

Apple White (Unspecified WLW)

Darling Charming (Unspecified WLW)

F:

G:

Glee (2009)

Adam Crawford (Gay)

Alistair (Unspecified MLM)

Blaine Anderson (Gay)

Brittany Pierce (Bisexual)

Dani (Lesbian)

David "Dave" Karofsky (Gay)

Elliott Gilbert (Gay)

Hiram Barry (Gay)

Kurt Hummel (Gay)

Leroy Barry (Gay)

Santana Lopez (Lesbian)

Sebastian Smythe (Bisexual)

Spencer Porter (Gay)

Grey's Anatomy (2005)

Amelia Shepherd (Bisexual)

Arizona Robbins (Lesbian)

Callie Torres (Bisexual)

Carina DeLuca (Bisexual)

Dayna Knox (Lesbian)

Eliza Minnick (Lesbian)

Erica Hahn (Lesbian)

Levi Schmitt (Gay)

Mika Yasuda (Bisexual)

Nico Kim (Gay)

Taryn Helm (Lesbian)

Teddy Altman (Bisexual)

H:

Harley Quinn (2019)

Basil Karlo/Clayface (Gay)

Edward Nygma/The Riddler (Gay)

Frank (Asexual)

Harleen Quinzel/Harley Quinn (Bisexual)

Leslie Wills/Livewire (Lesbian)

Mari McCabe/Vixen (Bisexual)

Pamela Isley/Poison Ivy (Bisexual)

Selina Kyle/Catwoman (Unspecified WLW)

Sylvester "Sy" Borgman (Bisexual)

Hazbin Hotel (2024)

Alastor (Aromantic, Asexual)

Angel Dust (Gay)

Charlotte "Charlie" Morningstar (Lesbian)

Cherri Bomb (Bisexual)

Husker (Pansexual)

Sir Pentious (Bisexual)

Vaggie (Unspecified WLW)

Valentino (Pansexual)

Vox (Bisexual)

Heartbreak High (2022)

Darren Rivers (Gay, Queer)

Donald "Ca$h" Piggott (Asexual)

Dustin Reid (Unspecified MLM)

Malakai Mitchell (Bisexual)

Missy Beckett (Bisexual)

Quinni Gallagher-Jones (Lesbian)

Rowan Callaghan (Bisexual)

Sasha So (Lesbian)

Heartstopper (2022)

Ben Hope (Unspecified MLM)

Charles "Charlie" Spring (Gay)

Darcy Olsson (Lesbian)

Isaac Henderson (Asexual, Aromantic)

Nick Nelson (Bisexual)

Tara Jones (Lesbian)

How I Met Your Mother (2005)

James Stinson (Gay)

Human Resources (2022)

Claudia (Lesbian)

Danielle (Lesbian)

Flanny O'Lympic (Bisexual)

Van (Lesbian)

I:

J:

K:

L:

M:

Miraculous: Tales of Ladybug & Cat Noir (2015)

Alix Kubdel (Aromantic)

Caline Bustier (Unspecified WLW)

Gisèle (Unspecified WLW)

Juleka Couffaine (Unspecified WLW)

Marc Anciel (Unspecified MLM)

Max Kanté (Asexual)

Nathaniel Kurtzberg (Unspecified MLM)

Rose Lavillant (Unspecified WLW)

Zoé Lee (Unspecified WLW)

Modern Family (2009)

Cameron Tucker (Gay)

Gil Thorpe (Gay)

Mitchell Pritchett (Gay)

Pepper Saltzman (Gay)

Ronaldo (Unspecified MLM)

Mom (2013)

Bonnie Plunkett (Bisexual)

Ray Stabler (Gay)

Rudy (Bisexual)

N:

Nanbaka (2016)

Jyugo (Bisexual)

New Amsterdam (2018)

Elizabeth Wilder (Bisexual)

Iggy Frome (Gay)

Lauren Bloom (Bisexual)

Leyla Shinwari (Lesbian)

Martin McIntyre (Gay)

New Girl (2011)

Melissa (Unspecified WLW)

Reagan Lucas (Bisexual)

Sadie (Lesbian)

O:

P:

Peacemaker (2022)

Christopher Smith/Peacemaker (Bisexual)

Leota Adebayo (Lesbian)

Private Practice (2007)

Amelia Shepherd (Bisexual)

Q:

R:

Raising Dion (2019)

Kat Neese (Lesbian)

Roswell, New Mexico (2019)

Alex Manes (Gay)

Allie Meyers (Unspecified WLW)

Anatsa Mufaro (Unspecified WLW)

Blaire (Unspecified WLW)

Forrest (Gay)

Isobel Evans-Bracken (Bisexual)

Michael Guerin (Bisexual)

Shivani Sen (Unspecified WLW)

Runaways (2017)

Karolina Dean (Lesbian)

Nico Minoru (Bisexual)

Xavin (Pansexual)

S:

Safe (2018)

Pete Mayfield (Gay)

Saving Hope (2012)

Bree Hannigan (Lesbian)

Maggie Lin (Bisexual)

Sydney Katz (Lesbian)

Shadowhunters (2016)

Alexander "Alec" Lightwood (Gay)

Aline Penhallow (Unspecified WLW)

Magnus Bane (Bisexual)

Olivia Wilson (Unspecified WLW)

Samantha (Unspecified WLW)

She-Ra and the Princesses of Power (2018)

Adora (Lesbian)

Bow (Bisexual)

Catra (Lesbian)

Double Trouble (Gay)

Entrapta (Bisexual)

George (Gay)

Glimmer (Bisexual)

Huntara (Lesbian)

Kyle (Bisexual)

Lance (Gay)

Light Hope (Lesbian)

Lonnie (Bisexual)

Mara (Lesbian)

Mermista (Bisexual)

Netossa (Lesbian)

Perfuma (Unspecified WLW)

Rogelio (Bisexual)

Scorpia (Lesbian)

Sea Hawk (Bisexual)

Spinnerella (Lesbian)

Station 19 (2018)

Amelia Shepherd (Bisexual)

Carina DeLuca (Bisexual)

Dayna Knox (Lesbian)

Eli Stern (Bisexual)

Emmett Dixon (Gay)

Maya Bishop (Bisexual)

Michelle Alvarez (Lesbian)

Nikki (Bisexual)

Pam Williams (Lesbian)

Travis Montgomery (Gay)

Steven Universe (2013)

Bismuth (Lesbian)

Dogcopter (Gay)

Harold Smiley (Gay)

Pearl (Lesbian)

Peridot (Asexual, Aromantic)

Ruby (Lesbian)

Sapphire (Lesbian)

Stumptown (2019)

Dex Parios (Bisexual)

T:

The Babysitter's Club (2020)

Dawn Schafer (Unlabeled WLW)

Janine Kishi (Lesbian)

The Magicians (2015)

Eliot Waugh (Gay)

The Owl House (2020)

Amity Blight (Lesbian)

Darius Deamonne (Gay)

Eda Clawthorne (Bisexual)

Gilbert Park (Unspecified MLM)

Harvey Park (Unspecified MLM)

Hunter (Bisexual)

Lilith Clawthorne (Asexual, Aromantic)

Luz Noceda (Bisexual)

Willow Park (Bisexual)

The Resident (2018)

Jake Wong (Gay)

The Rookie (2018)

Jackson West (Gay)

Gino Brown (Gay)

The Second Best Hospital in the Galaxy (2024)

Klak (Unspecified WLW)

Slug Girl (Unspecified WLW)

The 100 (2014)

Bryan (Gay)

Clarke Griffin (Bisexual)

Eric Jackson (Gay)

Lexa (Lesbian)

Nathan Miller (Gay)

Niylah (Lesbian)

Zev (Gay)

Titans (2018)

Tim Drake/Robin (Bisexual)

Total Drama (Franchise)

Bowie (Gay)

Raj (Gay)

U:

V:

W:

X:

Y:

Z:

#:

9-1-1 (2018)

David Hale (Unspecified MLM)

Evan "Buck" Buckley (Bisexual)

Henrietta "Hen" Wilson (Lesbian)

John Russo (Unspecified MLM)

Karen Wilson (Lesbian)

Michael Grant (Gay)

Tommy Kinard (Gay)

9-1-1: Lone Star (2020)

Carlos Reyes (Gay)

Tyler Kennedy "TK" Strand (Gay)

[josiecarioca]

That didn't happen

And if it did, it wasn't that bad

And if it was, that's not a big deal

And if it is, it's not my fault

And if it was, I didn't mean it

And if I did, you deserved it

"The Narcissist's Prayer" by Dayna Craig fits the Marauders like a glove

I think the fireside chat Harry has with Sirius and Remus pisses me off even more than Snape's Worst Memory. They are literally trying to excuse their actions by saying they were 15, and when Harry indigantly says that he's fifteen then the excuse becomes "he was interested in dark arts" and when Harry points out that they attacked Snape because they were bored, suddenly Sirius is like "I'm not proud of it" as if he still doesn't call Snape Snivellus and literally said that Snape deserved having a werewolf almost eat him. And then they reveal that James continued to attack Snape behind Lily's back even though she had started dating him because she thought he had stopped that. Like what the fuck.

[mightyaphrodytee]

That didn't happen.

And if it did, it wasn't that bad.

And if it was, that's not a big deal.

And if it is, that's not my fault.

And if it was, I didn't mean it.

And if I did, you deserved it.

The Narcissist’s Prayer, Dayna Craig

[zumpietoo]

I mean, all the reinharts plus KJ and Danny are gross and negative and awful. As for craig and Duan, Craig seems alright although Duan is a very fair weather at times fake friend. We’ve seen it online. If a friend of mines ex bad mouths them every chance they get I would not like their Instagram pics and leave comments with hearts. But hey, maybe that makes me a bad person

Not even feeling Craig these days tbh, but exactly about duan: she’s been friends with cole for like half his life. He and Dylan include them in shit and frequently put them on projects for $$$$ (something we know pp doesn’t do), he’s always been there for them….

Yet here’s duan, desperately currying favor wit the ex she met a handful of times, after she kept delaying pushing off shit for like 3 years. The same ex who didn’t attend her bridal shower, she’ll likely never see again and not only bad mouths cole, but fucked around on him.

And honestly, I get her remaining friends with Dougoline and breetch, because she was close to them. Ditto dayna. Pp? Nope

I’m really disappointed that it seems I was right about her the first time

[generally-ecstatic]

Credit: Dayna Craig

[siryouarebeingmocked]

That didn't happen. And if it did, it wasn't that bad. And if it was, that's not a big deal. And if it is, that's not my fault. And if it was, I didn't mean it. And if I did, you deserved it.

-The Narcissist's Prayer (Dayna Craig)

[zelda-ffitzgerald4]

Yeah, Duan and Craig seem like nice people but you can’t ignore that they’re enablers. Even Bree alluded to them being “yes” people. They’ve been there through it all……. Diana, Dayna, Bree, Lili, Doug and Caroline and god knows what else. They enable this shit and allow Cole to be a douche bag. Maybe he’s not a douche to them but if this was my friend I would of cut them off by now. He’s not a good person.

👆🏻

[riffsstrides]

Quarteria, Román Filiu (2018)

The metaphor of a large edifice with people from of all walks of life comingling with the soundtrack of the music of Cuba is fitting for Roman Filiú’s Quarteria.

Román Filiú - alto saxophone

Ralph Alessi - trumpet

Dayna Stephens - tenor saxophone

Maria Grand - tenor saxophone (10 & 11)

David Virelles - piano

Matt Brewer - bass

Craig Weinrib - drums

Yusnier Sanchez - percussion

[zelda-ffitzgerald]

There is a reason women who get fucked over by the sprouses are still close to Duan. She and Craig are good people. Dylan is like family to them. It is complicated. Don’t you think Dayna and Lili can judge for themselves?

It's not about that. I side eye anybody who knows about Cole (and Dylan's) abusive behavior and continues to prop them up or look the other way.

[elstrange]

Sounds a lot like The Narcissist's Prayer by Dayna Craig

That didn't happen.

And if it did, it wasn't that bad.

And if it was, that's not a big deal.

And if it is, that's not my fault.

And if it was, I didn't mean it.

And if I did, you deserved it.

Anyone have that image of like 8 ways of settler colonial justifications ? One of them is terra nullius, can't find it.

[rivevideopromotion]

Debbie Gibson - Girls Night Out (Tracy Young #VegasVibe Remix) Official ...

So excited for you to watch my official music video for "Girls Night Out" (Tracy Young #VegasVibe Remix)! #DebbieGibson Music Video Cast & Crew Credits: Director: John Asher @therealjohnasher Assistant Director: Justin Giffen 2nd AD: Melissa Rocco Cinematographer: Graham Futerfas Assistant Camera: Noah Ramos 2nd AC: Pancho Ortiz Production Company We Are Films wearefilms.com Producer: Aaron Craig Choreographers: Eddie Bennett and Buddy Casimano Casting: Julie Goldman and Liz Lewis Casting Gaffer: Chance Roberts Key Grip: Keaton Bayne Best Boy Grip: Randall Cassata Grip: Unico Clemente Production Designer: John Henry Production Designer Assistant: Danielle Estrada Production Assistant: Amaar Clemente Production Assistant: Stephanie Bayne Production Assistant: Alexander Laird Additional production support from Monsoon Production Services Post production: Company3 producer: Mario Costa colorist: Tyler Roth Special Thanks to Planet Hollywood, Allen Lester and Damian Costa Caesars Entertainment. Debbie Gibson Team Management: Heather Moore Assistant to Ms Gibson: JT Wolkiewicz Publicity: Elizabeth Neff Debbie Gibson GLAM Hair by Sarah Ajdahim Makeup by Sheena Zargari Debbie Gibson Wardrobe Nude / White Dress Custom design by Elie Madi / Wardrobe For The Stars Fashion House Shoes Valentino Black / Pink / Purple Bodysuit Custom design by Rocky Gathercole / Wardrobe For The Stars Fashion House Shoes Prada Black / White Zebra Coat Designer St. John Lorena Crushed Velvet Jumpsuit Walter Collection waltercollection.com Guest appearance by Yamaneika Saunders Additional Hair/Makeup for Ms Saunders Teresa Fassl Champagne VIP Lounge: Matt Goss Champagne Showgirls: Showgirl 1: Shana McCartney Showgirl 2: Jen Cloer Showgirl 3: Hillary Elliot Showgirl 4: Nadjana Dueck Showgirl 5: Kady Heard Featured Dancers: Katrina Currow Johanna Williams Andrea Avruskia K. Pendu Malik Tida Siribongkot Jaeli Wolf Noemi Jackson Featured Drag Performers: Elliott Puckett Larry Edward aka Hot Chocolate Kenneth Rex Chris Woods Roberto Silva DJ assistant: Kevin Summers Special Thanks: Dayna Roselli Sean McCallister Julie Savage Alexandra Maly Kelly Denino Carolyn Oliver Kennedy Ciruli Joe Chu Keri Ann Parkes Eloise Riddle Christopher Guzzo Olly Rowland Matt Goss Background Actors: Alexia Anast Maynard Bagang Brandon Dean My Do Megan Fisher Sonia Gascon Robert Gutierrez Yolanda Johns Eduardo Marin Katherine Nemechek Jessie Pauli Brianna Payne Ariana Reyes America Rivas Niloufar Sedaghati Stream / Buy "Girls Night Out" (Tracy Young Remixes): https://smarturl.it/gnotracyyoungremixes Song Credits: Music and Lyrics by Debbie Gibson Remixed and Produced by Tracy Young

[biandlesbianliterature]

This is part 2 of 3 of the bi and lesbian books that I’ve read and loved! Click here to see the full list at the Lesbrary.

If you like what we do here and want to see more of it, buy us a coffee on ko-fi, or support this tumblr & the Lesbrary on Patreon for $2 or more a month and be entered into monthly book giveaways!

Young Adult:

This is What it Feels Like by Rebecca Barrow (review)

Drum Roll, Please by Lisa Jenn Bigelow (review) [children’s/middle grade]

Starting From Here by Lisa Jenn Bigelow (review)

Girl Made of Stars by Ashley Herring Blake (review)

How to Make a Wish by Ashley Herring Blake (review)

Hurricane Child by Kheryn Callender (review)  [children’s/middle grade]

Fat Angie: Rebel Girl Revolution by e.E. Charlton-Trujillo (review)

Little & Lion by Brandy Colbert (review)

The Miseducation of Cameron Post by emily m. danforth (review)

Star-Crossed by Barbara Dee (review) [children’s/middle grade]

Down to the Bone by Mayra Lazara Dole (review)

Honey Girl by Lisa Freeman (review)

The Difference Between You and Me by Madeleine George (review)

Silhouette of a Sparrow by Molly Beth Griffin (review)

You Know Me Well by Nina LaCour and David Levithan (review)

All Out: The No-Longer-Secret Stories of Queer Teens Throughout the Ages edited by Saundra Mitchell (review)

Ramona Blue by Julie Murphy (review) [Bisexual M/F]

Radio Silence by Alice Oseman (review)

P. S. I Miss You by Jen Petro-Roy (review) [children’s/middle grade]

Noteworthy by Riley Redgate (review) [Bisexual M/F]

Empress of the World by Sara Ryan

Under Threat by Robin Stevenson

As I Descended by Robin Talley (review)

Pulp by Robin Talley (review)

The Brightsiders by Jen Wilde (review)

Going Off Script by Jen Wilde (review)

Queens of Geek by Jen Wilde (review)

The House You Pass On the Way by Jacqueline Woodson (review)

↓ Click through for SFF YA, Sci Fi, Fantasy, and Horror! ↓

SFF Young Adult:

Girls Made of Snow and Glass by Melissa Bashardoust (review)

Love In the Time of Global Warming by Francesca Lia Block (review) [Bisexual M/F]

The Scorpion Rules by Erin Bow (review)

Once and Future by Amy Rose Capetta and Cori McCarthy (review)

Labyrinth Lost by Zoraida Cordova (review)

Of Fire and Stars by Audrey Coulthurst (review)

Dreadnought by April Daniels (review) and Sovereign (Dreadnought #2) by April Daniels (review)

All Good Children by Dayna Ingram (review)

Hocus Pocus and the All-New Sequel by A. W. Jantha

Adaptation (review) and Inheritance by Malinda Lo (review)

Natural Selection (Adaptation 1.5) by Malinda Lo (review)

Will of the Empress by Tamora Pierce (review)

Toil & Trouble: 15 Tales of Women & Witchcraft edited by Tess Sharpe (review)

Ice Massacre by Tiana Warner (review)

Sci Fi:

Karen Memory by Elizabeth Bear (review) [Steampunk/Western]

Tierra Del Fuego, Colony Ship: Parting Shots by Caron Cro (review)

Meanwhile, Elsewhere edited by Cat Fitzpatrick and Casey Plett (review)

Into the Drowning Deep by Mira Grant (review)

An Absolutely Remarkable Thing by Hank Green (review)

The Little Homo Sapiens Scientist by S.L. Huang (review)

Ascension by Jacqueline Koyanagi (review)

Fantasy:

Kushiel’s Dart by Jacqueline Carey (review)

The Narrows by m. craig (review)

Indigo Springs by A.M. Dellamonica (review)

Kissing the Witch by Emma Donoghue

Long Hidden: Speculative Fiction from the Margins of History edited by Rose Fox and Daniel José Older (review)

The Second Mango by Shira Glassman (review)

The Salt Roads by Nalo Hopkinson (review)

Falling In Love With Hominids by Nalo Hopkinson (review)

Sister Mine by Nalo Hopkinson (review)

Bearly a Lady by Cassandra Khaw (review)

Fire Logic by Laurie J. Marks (review)

A Lake of Feathers and Moonbeams by Dax Murray (review)

Everfair by Nisi Shawl (review)

Hellebore & Rue edited by JoSelle Vanderhooft and Catherine Lundoff (review)

Horror/Zombies/Vampires:

Fist of the Spider Woman edited by Amber Dawn (review)

Alice Isn’t Dead by Joseph Fink

The Gilda Stories by Jewelle Gomez (review)

Into the Drowning Deep by Mira Grant (review)

Gnarled Hollow by Charlotte Greene

Eat Your Heart Out by Dayna Ingram (review)

The Haunting Of Hill House by Shirley Jackson (review)

Daughters of Darkness: Lesbian Vampire Stories by Pam Kesey

The Red Tree by Caitlin R. Kiernan (review)

Carmilla by Joseph Sheridan Le Fanu, edited by Carmen Maria Machado (review)

Better Off Red by Rebekah Weatherspoon (review)

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10 Years Later, Here's How The Writers Strike Indelibly Changed TV

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10 Years Later, Here's How The Writers Strike Indelibly Changed TV

In late 2007, “How I Met Your Mother” co-creator Craig Thomas faced an unusual situation. After penning the script for Episode 11 of the CBS comedy’s third season alongside fellow creator Carter Bays, he found himself handing off the pages they’d written. The scenes were to be filmed without his presence on set — or any of his writing staff, for that matter.

“We tried to get the script as tight and manageable as possible with the knowledge that there would be no writers on set to punch up any of the jokes or fix any of the words,” he explained. “At a certain time of the night, we just had to hit send and the script went to our producer and director and we said, ‘Have a great shoot week. We’ll be picketing outside of the lot.’”

Thomas and Bays were two of roughly 12,000 TV and film and television writers who were striking on behalf of the East and West unions of the Writers Guild of America, a walkout caused by stalled negotiations with the Alliance of Motion Picture and Television Producers that all but ground scripted television like “HIMYM” to a halt in late 2007 and 2008. (Members of HuffPost’s union are represented by WGA East.)

The organizations were in the midst of negotiating a new three-year contract. But after the AMPTP, the trade association affiliated with corporations like CBS and NBCUniversal, failed to meet the demands of the guilds, writers embarked on a 100-day stalemate.

During that time, guild writers no longer took work. In terms of television, that meant there were no new scripted episodes available for the networks to air besides those commissioned before the strike. More than 60 TV shows shut down as a result, and ratings and ad sales plummeted. By December 2007, most scripted series were off the air and not set to return for months. The CW’s “Gossip Girl” and “One Tree Hill” faced shortened seasons; NBC’s “Heroes” only completed 11 episodes of the 24 expected for Season 2, and was off the air for nine months; the third season of Fox’s “Bones” was cut short as the show went on a four-month hiatus. Late-night programming all but disappeared (until hosts like Conan O’Brien, Jon Stewart and Stephen Colbert fought to return without writers citing the financial struggles of their non-writing staff), and award shows like the Golden Globes were canceled.

In total, the strike cost the state of California over $2 billion and 37,700 jobs, according to nonprofit economic think tank the Milken Institute.

For a show like “HIMYM,” the prospect of a lengthy pause was daunting.

“Everyone had to stop [working] and that was scary, as the show was just gaining some momentum,” Thomas said.

CBS Photo Archive via Getty Images

Neil Patrick Harris playing Barney Stinson on a 2008 episode of “How I Met Your Mother.”

But there were larger interests at stake.

Audiences used to watching movies in theaters and TV at designated times in their homes were getting acquainted with a new kind of viewing experience: streaming video. Industry experts at the time predicted that so-called “new media” content ― shows and movies distributed online or viewed on computers, cell phones and other devices ― would eventually supplant DVDs in terms of profits. (Spoiler alert: They did.)

Initially, the big studios ― MGM, Sony, Warner Bros. and Disney, among others ― took home most, if not all, of the profits of this “new media” content; the WGA had no formal agreement with the companies on how to compensate writers for this kind of online or on-demand distribution. So when it came time to renegotiate a contract in November 2007, this issue was key.

According to the WGA, the AMPTP began negotiations by offering paltry residuals for new media and expressed a desire to deny the guilds future jurisdiction over scripts written for the internet. And the group felt as though it had no choice but to strike.

“It was one of the most important strikes of the new century to date,” Lowell Peterson, executive director of the WGA East, told HuffPost. Although Peterson was not a part of the WGA East until after the strike ended, he was interviewing for the role of director during the walkout and was in communication with leadership throughout the entire process. He witnessed the picketing firsthand and considers the strike to be “the first major labor action of the digital age.”

“This was a bunch of employees confronting the impact of information technology and digital technology on their way of living, and that was something that resonated very deeply across the labor force and the labor movement,” he said.

The strike officially ended on Feb. 12, 2008. The guilds won a piece of digital revenues and established a percentage payment on the distributor’s gross, and shows like “HIMYM” resumed with their writing staff in tact.

“Our perception was that it was very successful,” Peterson explained. “That as a result of the strike, the guilds were able to win jurisdiction and residual payment terms that otherwise simply wouldn’t exist. It looked like a great victory.”

But, it wasn’t an easy road. Not only had writers been out of work, they’d returned to an industry indelibly changed by their fight.

Jeff Vespa via Getty Images

Entertainment news anchors Lara Spencer, Brooke Anderson, Jim Moret, Giuliana Rancic, Dayna Devon and Mary Hart at The 65th Annual Golden Globe Awards Announcement at the Beverly Hilton on Jan. 13, 2008, in Beverly Hills, California.

The Rising Tide Of Reality TV

While scripted television series were forced to take a hiatus during the strike, this was not the case for reality TV shows.

Once pre-strike commissioned episodes ran out and fictional series were on lockdown, broadcast and cable networks clamored for any original content they could find to fill their schedules. As a result, some industry watchdogs connect the writers strike with the boom of reality television, considering more than 100 unscripted shows ― from competition shows to dating shows to life improvement series ― either debuted or returned during that 2007-2008 season.

However, Eli Holzman, the current CEO of The Intellectual Property Corporation and the creator/developer behind series like “Project Greenlight,” “Undercover Boss” and “Project Runway,” has a slightly different take on the strike’s impact on reality TV. He believes the explosion of unscripted television in 2008 was a long time in the making.

“Nonscripted TV was on the march really from the early 2000s, with the advent of ‘Survivor,’ ‘Who Wants To Be A Millionaire?’ and ‘Big Brother,’” Holzman explained. “The genre came into its own and it mirrored the trajectory and growth of cable, and commissioning increased each year. Yes, the strike was one important factor in that. But to me, slightly less important than the growth of cable and the audience’s embrace of the genre.”

As Holzman described it, scripted television was in the doldrums beginning in the mid-aughts. Viewers, he said, were bored with the slog of too-similar sitcoms, cop dramas and medical shows. From 2005 to 2007, for example, “American Idol” reigned supreme while the high-rated “Grey’s Anatomy,” “CSI: Crime Scene Investigation” and “House” eventually slipped below “Dancing with the Stars.” According to Holzman, audiences craved a fresh start. Cue the rise in reality television projects, which hit their stride in the 2000s. They peaked in 2015, when 750 nonfiction programs (350 of them brand new) aired on cable.

“Suddenly, this genre — Oh my god, all these people are going to get left on an island with nothing and they have to vote each other off, and someone is going to win a million dollars? ― was new and different and we wanted new and different versus a copy of a copy of a copy,” Holzman said. “The strike is an easy moment to look at when suddenly we all became aware of a change that was going on that maybe we hadn’t noticed before. But that change was happening on its own.”

WGA East’s Peterson agrees with him.

“I would not say that reality TV was created by the writers strike. I would say that more people watched it because there was nothing else on,” he added, noting that reality TV was simply “the only alternative, other than reruns,” for networks to air in lieu of their regularly scheduled programming.

Still, Holzman admits the strike did help to advance certain reality programs. “Project Runway,” for instance, aired its fourth season from November 2007 to March 2008 and earned pretty solid ratings for Bravo. The finale roped in 6.1 million viewers in the 18-49 demo when Christian Siriano won. Later in 2008, Lifetime took over the series and ratings increased by nearly 30 percent. Episodes of NBC’s “Biggest Loser” moved from a one-hour slot to two in order to fill primetime space. CBS aired its first, and last, “Big Brother” winter season. “Keeping Up with the Kardashians” began its reign on E! “American Idol” capped off a historic season in May 2008 with 31.7 million finale viewers, helping Fox become America’s most-watched network for the first time ever.

“As the strike wore on, the [reality] business was robust,” Holzman reiterated. “As a typical Hollywood producer, I thought I was just really talented [Laughs]. I didn’t realize I was potentially riding a wave. I thought, ‘I’m so good at this! This is so easy!’ That was genuinely my impression, and I didn’t realize we were in the midst of what was going to be a boom.”o

Indeed, when guild writers returned to work, reality TV was no longer just a cloying trend. Thomas admitted that, as a scripted TV showrunner, it wasn’t easy to watch reality programs top the ratings week after week from there on out.

“I remember being really stressed out in the first couple of years of ‘How I Met Your Mother’ because we were losing to a reality show all the sudden,” Thomas recalled. “That show ‘Deal or No Deal’ was this huge sensation and we were like, ‘Oh man, we’re losing to suitcases of money being opened up!’”

Brian To via Getty Images

Eli Holzman.

The ‘Death’ Of The Baby Writer

There were other long-term effects of the strike, though, not just for veteran writers, but aspiring ones, too.

About 20 years ago ― a decade before the writers strike ― a handful of these promising writers’ assistants, or “baby writers” as they were sometimes called, were working with Holzman at Miramax Television on a Kevin Williamson project called “Wasteland.” The show, about a group of post-college pals, aired only three episodes in 1999 before ABC canceled it. But out of that particular wasteland came a crucial opportunity. Since the studio heads were still required to fulfill the 13-episode order for foreign buyers but no longer felt pressure to deliver top-level content, aspiring young writers were given the chance to pen the remaining scripts for the series.

“We were in a blowout game where you take the kids off the bench and you put them in because it doesn’t matter,” Holzman told HuffPost. “One of those writers’ assistants was Damon Lindelof, who would go on to create ‘Lost’ and has obviously had an extraordinary career. Here’s a voice that, because of that flourishing ecosystem, was able to be identified, nurtured and grown, and his writing was then brought to all of us: the audience.”

Unfortunately, the months of foot-dragging from AMPTP negotiators in 2007-2008 messed with that flourishing ecosystem, Holzman says, dismantling a once healthy community that fostered creators of all ranks.

“As the strike and the decline in commissioning wore on, the people who maybe had previously been a rung or two up the ladder were willing to take a job and come back at a lower level, a lower rate. If you’re running a show and have to staff it, you have the ability to hire a kid who’s promising but never done it before or someone who’s really competent and is going to take a pay cut to work at that level. You’re almost crazy not to hire that more seasoned person. So, that baby writer pathway into the business went away,” he said, “and that was tragic.”

Then-“baby writer” Nick Bernardone, however, was one of the lucky ones. “I got my first job as an office production assistant on ’30 Rock’ [in 2008] by literally walking into the office at the exact right time and asking if they needed someone. It was one in a million timing,” he told HuffPost. “The answer was something like, ‘Usually, this would be insane … but can you start tomorrow?’”

After working alongside the likes of Tina Fey, Bernardone went on to become a member of the writers’ room on her Netflix series, “Unbreakable Kimmy Schmidt.” He insists he wouldn’t have gotten the gig had he not worked similar jobs on shows like AMC’s “The Walking Dead” and Netflix’s “Bloodline” in the interim.  

Thomas and Bays also entered the business relatively easily. They were hired as writers for David Letterman just a few months after graduating from Wesleyan University in 1997, well before the strike. And they opted to pay it forward.

“Through the run of ‘How I Met Your Mother,’ we promoted several of our writers’ assistants, mostly post-strike,” he said. “One of them was Matt Kuhn, who ended up being a writer on the show for the entire rest of the run after a couple of seasons as a writers’ assistant. We did the same thing with Craig Gerard and our personal assistant, Matt Zinman ― we promoted them to be full writers on the show for many years. And in the last couple seasons we promoted George Sloan.”

These days, Bernardone, who’s been nominated for four Emmy awards, believes breaking into the business is all about who’s willing to give you a slice of the pie.

“If someone likes an aspiring writer’s stuff, they’ll do their best to get them hired,” he said.

As unreliable as it might be, it’s a practice Holzman believes is necessary.

“It’s really important to nurture a new crop, a new generation of storytellers every year, because it takes a long time to get there and it takes a long time to learn your craft,” he said. “It’s like a bad year for grapes — in 10 years, we won’t have that vintage.”

Brent N. Clarke via Getty Images

Creators of ‘How I Met Your Mother’ Carter Bays (L) and Craig Thomas attend the 12th Annual New York Television Festival held at Helen Mills Theater on October 24, 2016 in New York City.

The Streaming Pathway To Prestige TV

Beyond the birth of the reality television boom and the increase in obstacles for up-and-coming writers, the strike ushered in an era that the guilds and industry insiders always expected: the era of streaming TV.

In 2007, Netflix was on an upswing. The company had launched in 1998 as a mail-order competitor to the then-popular but ultimately terminal Blockbuster, which rented out VHS tapes, DVDs and video games to the masses largely via brick-and-mortar stores. By 2005, 35,000 different films were available through Netflix’s subscription service; they reportedly shipped out 1 million DVDs every day. But soon enough, Netflix went the way of the internet, allowing its subscribers to browse through and watch films and shows by streaming them straight to their devices. By 2008, it had already identified its video-on-demand platform as the future. By 2013, Netflix had 27.1 streaming customers in the U.S.

Today, the company has more than 100 million subscribers.

In Thomas’ eyes, the writers strike was a pivotal turning point for the digital revolution helmed by Netflix, Hulu and other platforms. When the WGA refused to negotiate a contract without new media residuals, it signaled to the AMPTP and the entertainment industry at large exactly how powerful streaming services could be.  

“We had front-row seats to this huge change, and I credit ’How I Met Your Mother’s success a lot to the influence of Netflix,” Thomas said. “The popularity of Netflix started to get so much bigger and in those next couple of seasons, ‘How I Met Your Mother’ got onto Netflix and was very, very popular on there. [It] enabled all these new fans to binge the first few seasons and catch up and we saw ratings on live TV, on CBS, bump up because of this streaming service.

“That was part of what the strike was about: making sure writers were fairly compensated for work that wasn’t created for Netflix but got on Netflix,” Thomas continued. “Right away, we saw how important that side of things would become ― even with helping shows do better on network TV.”

And as platforms like Netflix grew and enhanced, so did original content, leading to, as Thomas put it, the rise of prestige TV. Sure, standout shows like “The Sopranos” and “The Wire” predated the walkout, but he believes writers had “firmer ground” to work on following the strike and were able to experiment with a plethora of innovative scripted series in ways they weren’t able to before ― knowing that they have the option of pitching their shows to multiple networks, premium channels and streaming sites.

“It’s certainly true that for a while people were more worried that what we did was hand the industry over to reality TV, and that definitely has not happened,” Peterson added. “What we’ve seen since the strike is an enormous explosion of high-budget scripted television. Reality definitely supplanted scripted for a while but in the 10 years since the strike, scripted has just expanded beyond anyone’s dreams.”

Were writers brainstorming the next decade of prestige TV while on the picket line years ago? Although Holzman doesn’t know how many successful TV scripts were created during on-strike downtime, he believes there were ideas brewing.

“It’s not likely they were stockpiling scripts for things that weren’t commissioned, but were they writing for themselves and creating things? I’m sure. Just because Picasso goes out of fashion, I don’t think he stops painting. Similarly, if there isn’t a market for writers work, I don’t think that means that they cease to write. I wouldn’t be surprised if some great stuff originated during that time period.”

Thomas can vouch for that.

“Everyone had in the back of their head, ‘What if this goes on a really long time? What if our show goes away after this?’ You never relax. You have to prove yourself and fight for it, so you take nothing for granted,” Thomas said. “So I think everybody had a little panicked thought about what to do next. ‘Should I be thinking about possible alternative shows or features for after the strike?’ It was definitely a moment.”

Today, the effects of on-demand viewing are still a major concern for the WGA East and West.

“On-demand viewing seems to be supplanting virtually everything else, and that has changed the way our members do their work,” Peterson said. “It’s changed the nature of the shows. No one is constrained to, ‘It’s 8 o’clock on Wednesday, I’m going to watch CBS now.’ People watch what they want, when they want, and that’s given our members enormous opportunities.”

Handout via Getty Images

Bruce Miller accepts the award for Best Television Series, Drama for Hulu’s “The Handmaid’s Tale” in January.

In the spring of 2017, WGA and AMPTP negotiations once again hit a snag over issues of compensation related to new media.

According to Peterson, there were a few things that drove it, including the fact that average TV earnings were increasing, due in part to things like decreased costs as the average television season became shorter. Tens of billions of profits were not being shared with writers.

“We had this enormous ‘yes’ vote authorizing the committee to call a strike,” Person said of the 2017 negotiations. “I think it was 96.3 percent yes, which is really an affirmation that members were ready to take action.”

After threatening a walkout, the AMPTP agreed to some of the guilds’ demands, likely with knowledge of what another writers strike would do to its industry. The guilds made gains across the board, added funding to their health plan and increases in subscription TV residuals, high-budget SVOD residuals, and, for the first time ever, residuals for comedy-variety writers in Pay TV. Now, writers for late-night and shows like “SNL” could see payment for content that’s re-aired on subscription sites or the internet. The unions also pushed to restructure compensation terms for writers of shorter seasons, making sure creators saw a piece of the studios’ profits.

“The Writers Guilds East and West are committed to the possibility of striking if that’s what it takes to win gains for our members, and we make sure that’s clear to the AMPTP when we sit down with them,” Peterson said. “The studios and networks know that we mean it and will do it if necessary, and that’s a lesson from the 2007-2008 strike.”

Holzman, for one, is glad another strike didn’t happen.

“The macro feeling across the industry was a strike will be bad because if we’re looking at leisure activity and how people are spending their leisure time. Television has competitors in a way it never had before in the form of the internet and mobile,” Holzman said.

“We’ve seen, and continue to see, an enormous migration of advertising dollars out of proper television — cable, broadcast and otherwise — and onto the web,” he added. “There was a sense that a prolonged strike may result in the audience declining, which it has been anyway. Maybe if there wasn’t great TV being produced, maybe the audience wouldn’t come back. I think that was a collective fear shared by both the producers and the writers, which encouraged them to find common ground to avoid another strike.”

“It could’ve been quite bad,” he added.

Or good, if you consider the past.

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