#Jackie Sullivan

[thehermitsacedia]

Titicut Follies (1967) | Joker: Folie à Deux (2024) parallels (Part 2)

[llnah]

[nacho475]

[vath-and-such-vinluv-s-stuff]

/co/+/tv/ request

"from the studio that brought you 'Jailhouse black and blue' and 'a-hole in one' presents..."

[nobelnovel78]

[productofnfld]

River by Jackie Sullivan

If you’re like your holiday songs with a little more heartache and depth, you need to check out Jackie Sullivan’s stunning cover of Joni Mitchell’s ‘River’. This isn’t your typical sleigh bell jingling Christmas tune—it’s raw, emotional, and absolutely breathtaking.

‘River’ has always been one of my favourite “anti-Christmas” songs. It captures the bittersweet feelings of loss and longing that the holiday season sometimes brings. Sullivan takes that emotion and makes it her own, delivering a vocal performance that feels intimate and timeless. She captures the melancholy of Mitchell’s original while adding a warmth that feels uniquely hers.

It’s a song that reminds me that the holidays aren’t always perfect, and that’s okay — even a less than perfect holiday can still be beautiful.

Make sure to add Jackie Sullivan’s version of ‘River’ to your holiday playlists this year.

[variousqueerthings]

youknow, i think about trans people with supportive families when these concepts were framed differently

dr james barry's mother knew and supported him going to medical school, alongside various mentors

jackie shane's mother and grandmother supported her being openly femme and her initially more private womanhood

lou sullivan's family supported his transition and gifted him a suit and his grandfather's pocket watch

there's so many examples (both of well-known trans people and personal testimony) of non-conformity and transitioning being something that families got behind in the past, both before and during the coining of trans terminology (which often wasn't known by these family members regardless)

[starlightandmusings]

also avoiding finals rn! and to come back w a question u asked me how do You think snyder made jacks time in the refuge more personal

love love love !!

okay. i think that snyder does 2 things: singles him out for general abuse, and then he also targets him where he’s weakest. but these two things are not quite the same. let me explain. (heads up for snyder being a creep!)

snyder, of course, makes jack the example, the butt of every joke, manipulates situations so that jack bears the blame. some of the other older boys are in on this too, framing jack for stealing food / dropping dead mice in the guards’ quarters / etc. i think jack generally keeps his head down until there’s injustice — and then he’ll mouth off and completely lose it. so i don’t think he’s actually pulling these pranks… though i do stand by The Shoulder headcanon. (he was trying to comfort the little boys, though, not just being spiteful.)

but the way i see snyder, he’s just… twisted. i’ve written him having a morbid fascination with and almost attraction to jack… it’s all part of power dynamics and trying to break this scrappy kid. so there will be specific general abuse, like making him do pushups/menial labor till he collapses, cutting his rations, etc, but also a little more than snyder’s usual bill of fare. late night office meetings that include lingering touches, though only on jack’s face/chest/through his hair, and conclude with snyder wiping his hands on his waistcoat, halfway repulsed. a few too many comments on just how pretty jack is. leaning close to say something, tongue flicking against jack’s ear. jack knows he’s been singled out for special attention because he doesn’t know when to sit down and shut up.

but i think snyder has done his homework on jack’s file. he never misses a chance to taunt jack about michael, about how sad it is that michael had a brother who let him die — was “glad to trade him for his own freedom.” i’m sure he says things like this in front of all the other boys over supper, in catechism, etc. speculates on the sexual prowess of jack’s mother (i hc she left frank to work at a brothel, dying a few years later), knowing it makes jack dizzy with anger. i think the one thing jack has of his mother’s is an old rosary, which he keeps in his pocket at all times. snyder would never destroy it — the leverage and power it gives him is too great — but he loves to confiscate it, teasing jack with it, making him humiliate himself for it and constantly pushing the limits of what jack will do to get it back.

tl;dr — snyder haaaates jack because he’s a living reminder of irrepressible strength, a challenge to his own power, the one thing in his life he can’t bend to his will. and he makes jack pay for it by making his life hell on earth.

[oldshowbiz]

Wayne and Shuster copied by Antone and Curtiss?

[musicandi]

Percy and Katie, never really seen them interact to tell.

But their character, Elliot and Jackie? They were freaking adorable.

Ngl though I haven't exactly fully watched the show, just saw the cute moments.

Ngl not really a fan of Katie’s. However, I fully support him and Jenna being a thing. Katie and Jenna have different vibes. I’m definitely team Jenna.

I fully support him. But if he ever wanted my opinion, his chemistry with Jenna is off the charts, and with Katie… not so much

[moviemosaics]

Animal Kingdom

directed by David Michôd, 2010

[howardhawkshollywoodannex]

The cast of Animal Kingdom (2012) pose for publicity photos without Guy Pearce. The film was photographed by Adam Arkapaw. This is his second honorable mention, after The Light Between Oceans.

Sullivan was born in Melbourne and has 52 acting credits from a 1994 Australian tv movie to six episodes of a 2022 Australian tv series. His other notable credits include Gangster Squad, and 300: Rise of an Empire.

[nacho475]

[didanagy]

ROAD TO AVONLEA (1990-1996)

created by kevin sullivan

[unproduciblesmackdown]

found this article ft. coverage of a 7pm show of the 14th annual joe iconis christmas extravaganza, with pics & Gists Of It All

Posted on December 17, 2024 by Alix Cohen

(Rudolph, Mrs. Santa and The Jingle Sluts) 54 Below is festively decorated. Red and green lighting bathes the venue. Four carolers in bonnets move from table to table. Two elves, in fact, Mistletoe Munchkins (Sarah Al-Bazali and Bailey Forman) gambol through the club disseminating candy. Halo somewhat askew, Christmas Angel (Annie Golden), opens and closes the show.

(Joe Iconis; The Christmas Angel) To say the Extravaganza is an immersive production minimizes the effect of 60 talented, gleefully crazed performers comprising Joe Iconis’s theater “family” (those who’ve appeared in his concerts and musicals). The merry band commandeers every corner of the premises with camaraderie; song, dance, sketches and choreographed mayhem, sometimes interacting with enthusiastic audience. Our heads swivel like Linda Blair in The Exorcist.

(Fancy Tree, Katrina Rose Dideriksen , Mistletoe Munchkins, Mr. Macabee) Iconis explains he had a tough year – compelled to take a lot of less than viable gigs including one upstate just before this show. The company was returning by a bus that crashed in a snowstorm, survivors unknown. “I really needed to get together with my family,” he says sorrowfully. “Don’t let the smile fool you/I’m quite depressed…” Iconis sings, gesturing to unoccupied microphones. Three homeless urchins (Lauren Marcus, Morgan Siobhan Green and Jason SweetTooth Williams) straggle in and are allowed to stay because, hey! it’s Christmas.  

(The Urchins) As if things weren’t bad enough, landlord Cyril Von Miserthorpe (Will Roland) – think Snidely Whiplash – is calling in loans on 54 Below worth over a million dollars in order to build a block of apartments. Cyril is particularly bitter missing Rufus (Philip Romano) “who used to lick my face, but died at Christmas having run into the street after a rolling ornament.” His husband (not dog) later appears very much alive sinuously wearing a silk dressing gown. Flamboyant and pink “Fancy Tree” (Leonard Sullivan) mishears “fantasy” and, taking it as an invitation, also shows up. Tree has her own sad tale having been turned down by every window on Fifth Avenue.

(Flashback Joe and Flashback Mom) Still the show must go on! “Joe’s Flashback” is a trio of songs dramatizing his early life. Fleeing a histrionic, discouraging mother (Jackie Sanders) the hero (Flashback Joe – Owen Smith) travels to daddy’s family in Jackalope Holler, West Virginia “where they appreciate art.” A squirrel, a reindeer, and a raccoon (while dancers tap in the aisles) are interrupted by mom’s arrival and a horrible accident wiping them all out. Guilt-ridden, Iconis keeps his family’s ashes in a hollow plastic candy cane.

(Animals of Jackalope Holler) There’s considerable original material (Iconis can write to any theatrical moment) as well as Italian, Hawaiian, Jewish, and Spanish salutes to the season and a roster of standbys like “Here Comes Santa Claus,” “Rockin��� Around the Christmas Tree,” “Sleigh Bells,” and “Oh, Tannenbaum.” Katrina Rose Dideriksen sings the hell out of “Please Come Home for Christmas.” Bartender Mr. Macabee (Jeremy Morse) can’t resist the chance to sing.

(Cyril and Krampus) Krampus (Lilly Tobin) – great costume, a horned anthropomorphic figure who, in the Central and Eastern tradition, accompanies Saint Nicholas, oozes “Baby It’s Cold Outside” – to Cyril. A drunk, raunchy Mrs. Santa Claus (Lorinda Lisitza) fronts a chorus of Jingle Sluts, stumbles, and gyrating, climbs on a table.

(Santa and Sweet Baby Jesus) Santa (Jason SweetTooth Williams), depressed by competition from “Sweet Baby Jesus” takes a seat at a banquette while Iconis and company try to cheer him up. Jesus himself (Bill Coyne) arrives lasciviously and literally stretched across the bar area wearing a loin cloth and shades. (There’s a miracle in the offing.) Mary Magdalene (Liz Lark Brown) – with a Yiddish accent – strips down to mini dress sequins to perform “Santa Baby” with her scantily clad backup boys. There’s even dancing candy!

(Mary and the Boys) Needless to say, missing cast arrives, Cyril finds the spirit of Christmas, family is reunited, and everyone’s holiday dreams come true. The show is a love fest, also irreverent, salacious, silly, clever; a 2 1/2 hour musical, not a concert. Iconis sits behind the piano benevolently watching his creation like The Wizard of Oz. John Simpkins’ Hellzapoppin production is masterfully directed madness.

Ex·trav·a·gan·za: an elaborate and spectacular entertainment or production – which this was in spades. Put me down for next year!

(there's another version of this on cabaretscenes.org posted the next day & with fewer, lower res pics & not necessarily more accurate or illuminating yet fun occasional differences in word choice / phrasing, for interest)