#Frederick Hart

[dreaminginthedeepsouth]

Ex Nihilo (Out of Nothing) by Frederick Hart (1978-84), Washington National Cathedral, Washington, D.C.

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“Every self has a power of understanding that, in the truest sense, determines who and what he is. Our understanding does not fluctuate like our states of consciousness. Our powers are the measure of our will, and our will is the ability possessed by each one of us to participate in the Will that is our Source.”

~ J.G. Bennett, ‘The Dramatic Universe’

[alive on all channels]

[jamesusilljournal]

Ex Nihilo, Frederick Hart, 1984

[juniuscallidus]

[rabbitcruiser]

The groundbreaking ceremony for the Vietnam Veterans Memorial was held in Washington, D.C. on March 26, 1982  

[courtera]

"Luce…I chose us."

[chippedcupwrites]

Sansa Stark┃the living painting

John Millais. The Martyr of the Solway. 1871. │ Gabriel von Max. Young woman with flowers in her hair. │ Sophie Gengembre Anderson. Portrait of a Young Girl. │ James Carroll Beckwith. The Embroiderer. │ Arthur Hughes. Juliet and her Nurse. 1867–1872. │ Thomas Benjamin Kennington. Contemplation. │ Alexandre Cabanel. Fallen Angel. 1847. │ Frederick Sandys. Helen of Troy. 1867. │ Ruth Sanderson. Arthur and Guinevere. │ Paul Delaroche. The Execution of Lady Jane Grey. 1833. │ Johannes Vermeer. Girl with a Pearl Earring. 1665. │ Stephen Phillips. Nancy Price as Calypso in Ulysses. 1902. │ P. J. Lynch. Eithlinn, Daughter of Balor. 2000. │ Charles Allen Winter. Portrait of a Woman. 1919. │ William Oxer. Amor Aeternus. 2022. │ George Romney. Emma Hart as Miranda. 1786. │ Bertalan Székely. Red Haired Girl. 1875. │ John Roddam Spencer Stanhope. Thoughts of the Past. 1859. │ Jean-Jacques Henner. Head Of A Young Girl In A Blue Dress. │ John William Waterhouse. Ophelia. 1910. │ Rudolf Kosow, Geheimnisvoll. │

[minnesotafollower]

The Prayer Jesus Taught: ”Give us this day, our daily bread” 

On March 12, 2023, Rev. Dr. Tim Hart-Andersen, the Senior Pastor at Minneapolis’ Westminster Presbyterian Church, delivered the third of his five sermons on different passages of the Lord’s Prayer.[1] This sermon was on a portion of the third sentence (in bold) of that Prayer: “Our Father, who art in heaven, hallowed be thy name. Thy kingdom come, thy will be done, on earth as it is in heaven.…

[chaifootsteps]

What drives me most insane about all the discourse (or lack of discourse) around Hazbin is people trying to act like Angel Dust is the first ever sex worker character portrayed in media as an actual *character.* To say nothing of the fact that he's an utterly HORRIBLE representation. If anything it reinforces the idea of sex work as some bottom of the barrel hail mary for the desperate and horny. Which...no.

You want to know what most sex workers are like??? People. They're like *people.* People with interests and identities outside of their profession. They also have a lot in common with Therapists in that people go to them for comfort and sometimes literally a shoulder to cry on. The old cliche of a guy hiring a hooker only to cry about his problems isnt just for laughs. Listening to people and comforting them is a HUGE part of sex work. SO many sex workers are incredibly kind and emotionally intelligent people and not all of them only resorted to sex work out of desperation.

Angel? He's basically just a sassy, mean, gay twink stereotype rolled together with a ceaselessly horny, drug addled, asshole. Just because we're meant to feel bad for him doesnt make him a good representation.

You know some shows/movies that DO have positive rep? Bobs Burgers, Bless The Harts , GLOW, Firefly, Moulin Rouge, fucking Independence Day and yes I mean the one from 1996, and Sweet Charity which is from the goddamn 60s.

And these are just a fraction of the examples out there.

As a rule (and this is for everyone, not just the dickriders) just because YOU haven't seen/heard of something before doesnt mean it hasn't been done. Stop making all these broad judgements based on your own very narrow experience and do some research, good lord...

Dont even get me started on people trying to applaud the show for queer rep when it's literally just a Yaoi Hentai with musical numbers and twice the exploitation.

I pray to god John Waters never finds out about Hazbin because I don't need the poor man finding out all the work he did for queer culture and media has been set back decades by one spoiled rich white bitch.

And yes, Vivienne is white. Having South /Central American heritage does not automatically mean you aren't white. White is complexion, not a goddamn nationality. If you look and act white enough, you'll get treated like a white person, and Viv is about as white as they come. She grew up in goddamn bourgie-ass Frederick, Maryland. We see you, Viv.

Honestly, at the moment, I think my favorite fictional depiction of a sex worker is Tuca from Tuca & Bertie in that brief window of time she dabbled in it. Did it because she liked it and was good at it, no stereotypical Valentino-esque pimp in the picture, her clients were all regular people too, and she did it online which is something you don't often see in media. Viv could never have written something that grounded and adult.

[doyoucopypod]

also what are the pronouns of the characters i need to yap but need to do so correctly

I have answered this on this page before, but I’m going to use this as an excuse to also add in the season two pals!!

Season One:

Alex Taylor- he/they

Reese Williams- she/they

Addison Quinn- she/her

Liam Thomas- he/they

Frederick Miller- they/them

Blake Bennett- he/they

[REDACTED] -she/her

Season Two:

Dakota Maxwell- he/they/she

Marshall McFarland- they/them

Eden Hart- they/she

Sarah Davis- she/her

Clyde O’Connor- he/him

Alan Dufour- he/him

[aq2003]

because nobody asked here is some deranged rambling/commentary about bbc3 audio drama twelfth night bc i listened to it again to jot down the timestamps and i am annoying (sorry). this is sort of long so i have hidden it under the readmore

going off the point i made in the previous post about rearranging 1.1 to be after 1.2 but the delicious foreshadowing in "will you go hunt, my lord?" "what, cesario?" "the hart" that occurs when it's viola/cesario talking to orsino rather than curio

also by rearranging 1.1 and 1.2 this means the audience is first told that both olivia's father and brother are dead, and then we see valentine reporting on olivia shutting herself in just to grieve her brother. almost like everything orsino knows about olivia is secondhand, incomplete information from his messengers

viola forgetting to make her voice deeper when talking to orsino for a second before catching herself is such a great detail. i like how you still get the sense of "disguise" without any visuals to accompany it

her voice gets a little higher when orsino is up close to her anyway

funeral bells ringing when we first meet olivia. she lost her family!! leave her alone guys!!

this may just be me but i feel like olivia's and malvolio's voices complement each other soooo well. they both have this "serious mature grounded" vibe when they're introduced + they're talking to feste. and of course this is true to the text cuz of olivia's line in 3.4 "he is sad and civil and suits well for a servant with my fortunes"

this also means that olivia and malvolio feel like a more proper match for each other. they sound like they're about the same age, their personalities gel w one another. it makes malvolio genuinely thinking that the letter is real + he has a chance w/ her a lot more believable (and sad)

"what kind o’ man is he?" "...why..... of mankind?" "what manner of man?" just trust me on this one when i say the way this is played makes me truth for autistic malvolio. malvolio being confused by what she's asking but trying to give her an answer anyway, and olivia emphasizing the clarification like this kind of miscommunication has happened a bunch of times

viola and olivia in 1.5 have chemistryyyyy. viola/cesario is putting on The Moves for her, and i think is EXACTLY how this scene should always be played. pulling open the curtains and opening the window!!! lifting olivia's veil!!! letting in the light!!! (what a metaphor). making her laugh by poking fun at toby and malvolio!!! swooping into her life and leaving her breathless w their sheer audacity!!!!!

basically, shoutout to naomi frederick who so clearly plays viola as being Very Into Olivia Herself rather than just being a mouthpiece for orsino and doing it for him. i can REALLY believe why olivia falls for her

the fact that "malvolio has to outrun viola on horseback" is explicitly not how 2.2 is staged in the text it's just they want to emphasize that this version of malvolio is so committed to doing anything for olivia no matter what

"you might have saved me my pains to have taken [the ring] away yourself" is now SO much more funny lmao

the fact malvolio gives viola the ring, viola throws it back, and THEN malvolio throws it down on the ground (as opposed to him just throwing it down on the ground like in the text) pleaseeeeee he doesn't get paid enough for this

the satisfied way viola says "i am the man" like she takes pride in the fact that she won olivia over and her only regret about it is "but we're both girls.... :(" mx bisexual disaster.......

i did make a bunch of "what the hell is wrong with you maria lol" posts but i will say that her actions do make more sense with how she's played here in 2.3 ie when she comes up to tell them that olivia/malvolio wants them to quiet down she's laughing and joining in with their singing anyway bc they're having such a good time (rather than like. she and malvolio are both fed up with them but malvolio is meaner about it and this suddenly makes her decide to plot his downfall)

it makes that bit where malvolio is like "maria if you care about olivia at all you will stop fucking tolerating this nonsense" hit that much harder bc he's extending his threat to toby towards her too. i don't think he's just making it up, i think he's putting his foot down for olivia bc she doesn't have the heart to do it herself but Lmao he really IS the kid that reminds the teacher that there's homework due today

viola suddenly stopping the music as she stares straight at orsino and goes "of your complexion". i can Hear the look in her eyes as she says this.

like godddd i love this viola so much

orsino going on his whole tirade about how women don't have the same capacity for love as men do, to viola's face, while the ocean roars in the background?? saying "[my love] is all as hungry as the sea?" OUCH.

because when viola says "i know too well what love women to men may owe", she isn't just talking about her love for orsino. she's also talking about her grief over her brother

and this makes SUCHHH a great segway into viola/cesario talking about their "sister". she's still grieving sebastian!! the memory of him is haunting her and she's tried to push it down but the (indirect) accusation that she had nothing in her heart for him is bringing it all back

AND THIS IS WHY THEY MOVED 2.1 TO RIGHT AFTER THIS... TO SHOW BOTH VIOLA AND SEBASTIAN GRIEVING THE OTHER BACK TO BACK... AUGHHHH IT'S SO PERFECT

i have yelled about malvolio in 2.5 in the tags here already but my god. can someone please help him

"'tis but fortune, all is fortune" he says after immediately tripping and falling on his face. it suddenly makes the line sarcastic and malvolio is dwelling on his general unluckiness lmao. and then he says that part about olivia potentially being in love with him to make himself feel better

"revolve... revolve? no." He exists in an audio-only format and he cannot do a little spin. this is so sad

the fact you can HEAR the happy tears streaming down his face by the end esp from the breathless way he says "i thank my stars, i am happy!!!!" truly hilarious and embarrassing and heartbreaking all at once!!! i am being killed to death listening to this!!!!!

"a ring in chase of you... so did I abuse myself, my servant, and, i fear me, you" olivia girl whatever you're paying malvolio it isn't enough

THE WAY THEY PLAY THE WHOLE "THEN THINK YOU RIGHT I AM NOT WHAT I AM" AS VIOLA ASSUMING THAT OLIVIA KNOWS SHE'S A GIRL AND EXPECTING A CONFRONTATION BUT INSTEAD SHE CONFESSES HER LOVE IS SOOOO LMAOOOOOOOOOOO

viola vs her internalized homophobia coming off as cesario going "sorry olivia i am gay" kills me every time. this isn't a commentary on the adaptation i think this is probably one of the funniest moments in the play just in general

3.4 makes me want to hit my head against a wall btw get them both out of there

the sound effect after malvolio says "yellow in my legs" makes me think he pulled up a chair and put a leg up on it. which would be super funny if i wasn't trying to not listen to what's happening rn

the "sweet roman hand" was originally malvolio talking about olivia's handwriting but here he says it after she slaps him djhgwjhgjwfbwmfw

malvolio struggling to pronounce the word "slough" has made ME forget how the word is supposed to actually be pronounced, btw

"souls and bodies hath he divorced three" "THREE??" "three!"

THE FUCKING FENCING SOUND EFFECTS KILL ME SO MUCH ��😭😭😭😭

the only real complaint i have w this adaptation is that antonio is not nearly as down bad for sebastian as he should be. they even cut out his "beauteous evil" lines. this is so sad

andrew: i should fight cesario [gets beat up] damn cesario got hands

why did they do that to malvolio man

my heart cracked in two at the first "sir topas?" and genuinely every line delivery david did after that made me want to cry. i have a problem

they had to cut out feste and malvolio arguing about pythagoras because this malvolio is nowhere There enough to do anything but scream and beg for help like he keeps repeating it's so dark and i'm in hell and i'm not crazy and please give me candle pen ink and paper bc He's Been There Long Enough That He's Losing His Perception Of Reality And Feste's Gaslighting Is Not Helping

really like how malvolio and sebastian are contrasted by splitting 4.2 into two parts. something something class difference

sebastian is thinking to himself "what the fuck is happening, am i actually just insane" and then there's an immediate cut to the second part of 4.2 where we know malvolio is feeling the same way. But like. in an "exact opposite nightmare situation" kind of way

sorry the way malvolio says "ay, good fool". i need david to pay for my god damn emotional damages

we now cut from this horror scene to sebastian getting it on with this woman that he just met

the genuine pity in olivia's voice when talking to malvolio…….which obviously does not make the situation better for him in any way…………

sorry it is so fucking crazy to me that malvolio made the (true!) observation that feste can't do anything unless people laugh at him and give him money and feste takes it SO personally that he decides to psychologically torture him

potentially a weakness of the adaptation in itself for doing all this but i was not lying when i said that at the end of listening to it i couldn't feel anything except for abject despair at what happened to malvolio. none of this is funny!!!! oh my fucking god!!!!!

However what i did gain from this is that malvolio is my bleebo blorbo and i have several more emotions about him

anyway

[ljones41]

Favorite Streaming Productions From 2024

Below is a list of my favorite productions that appeared on streaming channels in 2024 (in alphabetical order):

FAVORITE STREAMING PRODUCTIONS FROM 2024

"Belgravia: The Next Chapter" - This sequel to Julian Fellowes' 2020 limited series, "Belgravia", aired on MGM+. Set thirty years later, the limited series starred Benjamin Wainwright and Harriet Slater.

"Cross" (Season One) - Starring Aldis Hodge, this crime thriller television series about a Washington D.C. forensic psychologist and homicide detective is based on James Patterson's "Alex Cross" novel series, now airing on Amazon Prime Video.

"The Day of the Jackal" (Season One) - Eddie Redmayne and Lashana Lynch starred in this reimagined adaptation of Frederick Forsyth's 1971 novel about a ruthless British assassin and the MI-6 intelligence officer intent on capturing him. Now airing on Peacock.

"The Empress" (Season Two) - Devrim Lingnau and Philip Froissant star in this Netflix historical drama about Empress Elisabeth and Emperor Franz-Josef I of Austria.

"Fight Night: The Million Dollar Heist" - Kevin Hart and Samuel L. Jackson starred in Peacock's limited series about an infamous armed robbery held on the night of Muhammad Ali's historic 1970 comeback fight in Atlanta. Don Cheadle, Taraji P. Henson and Terence Howard co-starred.

"Mr. & Mrs. Smith" (Season One) - Donald Glover and Maya Erskine starred in this Amazon Prime Video remake of the 2005 comedy thriller about two strangers and trained espionage agents, impersonating a married couple, while working for a mysterious organization.

"The Penguin" - Colin Farrell reprised his role as Oswald "Oz" Cobb aka the Penguin from the 2022 D.C. Comics movie, "The Batman", in this HBO/Max limited series about the titled character's rise to power in Gotham City's underworld.

"Shōgun" - This second adaptation of James Clavell's 1975 novel about a shipwrecked English soldier and his association with a powerful daimyo in early 17th century Japan aired on the FX on Hulu channel and starred Hiroyuki Sanada, Cosmo Jarvis, Anna Sawai and Tadanobu Asano.

"Star Wars: The Acolyte" - Amandla Stenberg and Lee Jung-jae starred in this Disney Plus limited series about the Jedi Order's investigation of a series of crimes during the High Republic era.

"Star Wars: Skeleton Crew" - Jude Law starred in this Disney Plus limited series about four children, who make a discovery on their home planet, get lost in the galaxy and go on an adventure to get back home. The series is set during the early New Republic era.

[dreaminginthedeepsouth]

Frederick Hart in front of the completed clay for The Creation Sculpture, Ex Nihilo. 1978-84, Washington National Cathedral

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"Being a realized immortal for a breath’ is an interesting expression. Usually one considers immortals to be permanently immortal. When one`s original spirit awakens, even if only for a breath, that moment is out of time and can be called immortal. At one time when I had an experience like this about 15 years ago, a connection with an experience I had when I was 5 or 6 years old occurred. I had completely forgotten about this experience and suddenly it returned and felt very vivid and alive, and I understood that this experience had been a deep moment of awakening. These moments are eternal moments that time cannot erase, although one can become disconnected from them.

Forever is composed of Nows."

~ Emily Dickinson

[alive on all channels]

[eddieredmayneargentinablog]

Video: Eddie Redmayne l The Day of the Jackal Premiere interview l Frederick Forsyth Thriller.

Eddie Redmayne is interviewed for Sky's The Day of the Jackal, starring Eddie Redmayne, Lashana Lynch, Úrsula Corberó, Charles Dance, Richard Dormer, Chukwudi Iwuji, Lia Williams, Khalid Abdalla, Eleanor Matsuura, Jonjo O'Neill, Nick Blood, Sule Rimi and Florisa Kamara.

Colin Hart and Ethan Hart were on the red carpet.

Plot: The adaptation is based on the seminal novel by Frederick Forsyth and the subsequent award-winning 1973 film from Universal Pictures. It follows an unrivalled and highly elusive lone assassin, the Jackal, (Eddie Redmayne) makes his living carrying out hits for the highest fee. But following his latest kill, he meets his match in a tenacious British intelligence officer (Lashana Lynch) who starts to track down the Jackal in a thrilling cat-and-mouse chase across Europe, leaving destruction in its wake.

The series is coming to Sky Atlantic and streaming service NOW in the UK and Peacock in the US on November 7th.

Related post.

📸 My screenshots.

[readyforevolution]

What to the Slave is this Fourth of July

“Fellow-citizens, pardon me, allow me to ask, why am I called upon to speak here to-day? What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? and am I, therefore, called upon to bring our humble offering to the national altar, and to confess the benefits and express devout gratitude for the blessings resulting from your independence to us?

Would to God, both for your sakes and ours, that an affirmative answer could be truthfully returned to these questions! Then would my task be light, and my burden easy and delightful. For who is there so cold, that a nation’s sympathy could not warm him? Who so obdurate and dead to the claims of gratitude, that would not thankfully acknowledge such priceless benefits? Who so stolid and selfish, that would not give his voice to swell the hallelujahs of a nation’s jubilee, when the chains of servitude had been torn from his limbs? I am not that man. In a case like that, the dumb might eloquently speak, and the 'lame man leap as an hart.

But such is not the state of the case. I say it with a sad sense of the disparity between us. I am not included within the pale of glorious anniversary! Your high independence only reveals the immeasurable distance between us. The blessings in which you, this day, rejoice, are not enjoyed in common. The rich inheritance of justice, liberty, prosperity and independence, bequeathed by your fathers, is shared by you, not by me. The sunlight that brought light and healing to you, has brought stripes and death to me. This Fourth July is yours, not mine. You may rejoice, I must mourn.”

Frederick Douglass