#Macdonald Gill

[downthetubes]

Mapping the Tube: 1863-2023: a new exhibition at The Map House reveals the London Underground’s iconic design evolution

Following up on our recent item on schematic expert Maxwell J. Roberts new take on mapping the London Underground, we couldn't not report on a new exhibition at The Map House in London, opening next month, October, titled "Mapping the Underground"

[vintagepromotions]

'Tea - an Empire Industry - where our tea comes from'

Poster showing a map of India and Ceylon (now Sri Lanka) with names of cities and illustrations (1937). Artwork by Leslie Macdonald Gill.

[regentzephyr]

Spinozism in a nutshell

[nofatclips]

Paragon of Order by Owen Pallett from the album Island - Artwork by Eric Kostiuk Williams

[cadmusfly]

Tag Yourself: Unabridged Shitty Drawing Marshal of the Empire Edition

Yes All 26 Of Them + Bonus 2

drawn and compiled by yours truly, initial and probably inaccurate research assisted by Chet Jean-Paul Tee, additional research from Napoleon and his Marshals by A G MacDonnell, Swords Around A Throne by John R Elting and a bunch of other books and Wikipedia pages

captions under images

mike (Michel Ney)

- full of every emotion

- always has ur back

joe (Joachim Murat)

- it's called fashion sweetheart

- will not stop flirting

lens (Jean Lannes)

- bestie who will call u out on ur shit

- does not like their photo taken

bessie (Jean-Baptiste Bessieres)

- actually nice under the ice

- was born in the wrong generation

dave (Louis-Nicolas Davout)

- overachiever

- 20 year old boomer

salt (Jean-de-Dieu Soult)

- people think ur up to no good

- doesn’t cope with sudden changes 2 plans

andrew (Andre Massena)

- actually up to no good

- sleepy until special interest is activated

bertie (Louis-Alexandre Berthier)

- carries the group project

- voted most likely to make a stalker shrine

auggie (Pierre Augereau)

- shady past full of batshit stories

- will not stop swearing in the christian minecraft server

lefrank (François Joseph Lefebvre)

- dad friend

- in my day we walked to school uphill both ways

big mac (Étienne Macdonald)

- brutally honest

- won't let you borrow their charger even if they have 100%

gill (Guillaume Brune)

- love-hate relationship with group chats

- pretends not to care, checks social media every 2 minutes

ouchie (Nicholas Oudinot)

- needs to buy bandages in bulk

- a little aggro

pony (Józef Antoni Poniatowski)

- can't swim

- tries 2 hard to fit in, everyone secretly loves them anyway

grumpy (Emmanuel de Grouchy)

- can't find them when u need them

- complains about the music, never suggests alternatives

bernie (Jean-Baptiste Bernadotte)

- always talks about their other friendship group

- most successful, nobody knows how

monty (Auguste de Marmont)

- does not save u a seat

- causes drama and then lurks in the background

monch (Bon-Adrien Jeannot de Moncey)

- last to leave the party

- dependable

morty (Édouard Mortier)

- everyone looks up 2 them literally and figuratively

- golden retriever friend

jordan (Jean-Baptiste Jourdan)

- volunteers other people for things

- has 20+ alarms but still oversleeps

kelly (François Christophe de Kellermann)

- old as balls but still got it

- waiting in the wings

gov (Laurent de Gouvion Saint-Cyr)

- infuriatingly modest about their art skills

- thinks too much before they speak

perry (Catherine-Dominique de Pérignon)

- low-key rich, only buys things on sale

- “let’s order pizza” solution to everything

sachet (Louis-Gabriel Suchet)

- dependable friend who always brings snacks

- lowkey keeps the group together

cereal (Jean-Mathieu-Philibert Sérurier)

- unnervingly methodical and precise about fun

- will delete your social media after u die

vic (Claude Victor-Perrin)

- loves spicy food but can’t handle it

- says they're fine, not actually fine

Bonus!

june (Jean Andoche Junot)

- chaotic disaster bisexual

- will kill a man 4 their bestie

the rock (Géraud Duroc)

- keeps a tidy house

- mom friend with snacks

[autistpride]

How many of these famous autists do you recognize? And this isn't even a complete list!

So many amazing wonderful people are autistic. I will never understand why people hate us so much.

Actors/actresses/entertainment:

Chloe Hayden

Talia Grant

Rachel Barcellona

Sir Anthony Hopkins

Dan Akroyd

David Byrne

Darryl Hannah

Courtney Love

Jerry Seinfeld

Roseanne Barr

Jennifer Cook

Chuggaaconroy

Stephanie Davis

Rick Glassman

Paula Hamilton

Dan Harmon

Paige Layle

Matthew Labyorteaux

Wentworth Miller

Desi Napoles

Freddie Odom Jr

Kim Peek

Sue Ann Pien

Henry Rodriguez

Scott Steindorff

Ian Terry

Tara Palmer -Tomkinson

Albert Rutecki

Billy West

Alexis Wineman- Miss America contestant

Athletes:

Jessica- Jane Applegate

Michael Brannigan

David Campion

Brenna Clark

Ulysse Delsaux

Tommy Dis Brisay

Jim Eisenreich

Todd Hodgetts

John Howard

Anthony Ianni

Lisa Llorens

Clay Matzo

Frankie Macdonald

Jason McElwain

Chris Morgan

Max Park

Cody Ware

Amani Williams

Samuel Von Einem

Musicians:

Susan Boyle

Elizabeth Ibby Grace

David Byrne

Johnny Dean

Tony DeBlois

Christopher Dufley

Jody Dipiazza

Pertti Kurikka

James Jagow

Ladyhawke

Kodi Lee

Left at London

Red Lewis Clark

Abz Love

Thristan Mendoza

Heidi Mortenson

Hikari Oe

Matt Savage

Graham Sierota

SpaceGhostPurp

Mark Tinley

Donald Triplett

Aleksander Vinter

Comedians:

Hannah Gatsby

Robert White

Bethany Black

Scientists/inventors/mathematians/Researchers:

Damian Milton

Bram Cohen

Michelle Dawson

Carl Sagan

Writers:

Neil Gaimen

Mel Bags

Kage Baker

Amy Swequenza

M. Remi Yergeau

Sean Barron

Lydia X Z Brown

Matt Burning

Dani Bowman

Nicole Cliffe

Laura Kate Dale

Aoife Dooley

Corrine Duyvus

Marianne Eloise

Jory Flemming

Temple Grandin

John R Hall

Naomi Higashida

Helan Hoang

Liane Holliday Willey

Luke Jackson

Rosie King

Thomas A McKean

Johnathan Mitchell

Jack Monroe

Caiseal Mor

Morenike Giwa- Onaiwu

Jasmine O'Neill

Brant Page Hanson

Dawn Prince-Hughs

Sue Robin

Stephen Shore

Andreas Souvitos

Sarah Stup

Susanna Tamaro

Chuck Tingle

Donna Williams

Leaders:

Julia Bascom

Ari Ne'eman

Sarah Marie Acevedo

Sharon Davenport

Joshua Collins

Conner Cummings

Kevin Healy

Poom Jenson

Amy Knight

Jared O'Mara

David Nelson

Shaun Neumeier

Master Sgt. Shale Norwitz

Jim Sinclair

Judy Singer

Dr. Vernon Smith

Artists:

Miina Akkijjyrkka

Danny Beath

Deborah Berger

Larry John Bissonnette

Patrick Francis

Goby

Jorge Gutierrez

Lina Long

Johnathan Lerman

Julian Martin

Haley Moss

Morgan Harper Nichols

Tim Sharp

Gilles Tehin

Willem Van Genk

Richard Wawro

Poets:

David Eastham

Christopher Knowles

David Miedzianik

Henriette Seth F

[mapsontheweb]

The "Time & Tide" Map: a 1942 map by MacDonald Gill, meant to display US-UK unity. The 1941 "Atlantic Charter," which stated Anglo-American goals for the postwar world, is reproduced in full text. The map shows raw materials- both war materiel and trade goods. More info in comments.

[wankerwatch]

Commons Vote

On: Passenger Railway Services Bill (Public Ownership) Bill: Committee: Amendment 14

Ayes: 111 (95.5% Con, 4.5% DUP) Noes: 362 (97.0% Lab, 2.5% Ind, 0.6% SDLP) Absent: ~177

Day's business papers: 2024-9-3

Likely Referenced Bill: Passenger Railway Services (Public Ownership) Bill

Description: A Bill to make provision for passenger railway services to be provided by public sector companies instead of by means of franchises.

Originating house: Commons Current house: Commons Bill Stage: 3rd reading

Individual Votes:

Ayes

Conservative (106 votes)

Alan Mak Alberto Costa Alex Burghart Alicia Kearns Alison Griffiths Andrew Bowie Andrew Murrison Andrew Rosindell Andrew Snowden Aphra Brandreth Ashley Fox Ben Obese-Jecty Ben Spencer Bernard Jenkin Blake Stephenson Bob Blackman Bradley Thomas Caroline Dinenage Caroline Johnson Charlie Dewhirst Chris Philp Claire Coutinho Damian Hinds Danny Kruger David Davis David Mundell David Reed David Simmonds Desmond Swayne Edward Argar Edward Leigh Gagan Mohindra Gareth Bacon Gareth Davies Gavin Williamson Geoffrey Cox George Freeman Greg Smith Gregory Stafford Harriet Cross Harriett Baldwin Helen Whately Iain Duncan Smith Jack Rankin James Cartlidge James Cleverly James Wild Jeremy Hunt Jeremy Wright Jerome Mayhew Jesse Norman Joe Robertson John Cooper John Glen John Hayes John Lamont John Whittingdale Joy Morrissey Julia Lopez Julian Lewis Karen Bradley Katie Lam Kemi Badenoch Kevin Hollinrake Kieran Mullan Kit Malthouse Laura Trott Lewis Cocking Lincoln Jopp Louie French Mark Francois Mark Garnier Mark Pritchard Martin Vickers Matt Vickers Mel Stride Mike Wood Mims Davies Neil Hudson Neil O'Brien Neil Shastri-Hurst Nick Timothy Nigel Huddleston Oliver Dowden Patrick Spencer Peter Bedford Peter Fortune Priti Patel Rebecca Harris Rebecca Paul Rebecca Smith Richard Fuller Richard Holden Robbie Moore Robert Jenrick Saqib Bhatti Sarah Bool Shivani Raja Simon Hoare Steve Barclay Stuart Anderson Stuart Andrew Suella Braverman Tom Tugendhat Victoria Atkins Wendy Morton

Democratic Unionist Party (5 votes)

Carla Lockhart Gavin Robinson Gregory Campbell Jim Shannon Sammy Wilson

Noes

Labour (351 votes)

Abena Oppong-Asare Abtisam Mohamed Adam Jogee Adam Thompson Afzal Khan Al Carns Alan Campbell Alan Gemmell Alan Strickland Alex Baker Alex Ballinger Alex Barros-Curtis Alex Davies-Jones Alex Mayer Alex McIntyre Alex Norris Alex Sobel Alice Macdonald Alison Hume Alison McGovern Alistair Strathern Allison Gardner Amanda Hack Amanda Martin Andrew Cooper Andrew Gwynne Andrew Lewin Andrew Pakes Andrew Ranger Andrew Western Andy MacNae Andy McDonald Andy Slaughter Angela Eagle Anna Dixon Anna Gelderd Anna McMorrin Anna Turley Anneliese Dodds Anneliese Midgley Antonia Bance Ashley Dalton Baggy Shanker Bambos Charalambous Barry Gardiner Bayo Alaba Beccy Cooper Becky Gittins Ben Coleman Ben Goldsborough Bill Esterson Blair McDougall Brian Leishman Callum Anderson Calvin Bailey Carolyn Harris Cat Smith Catherine Atkinson Catherine Fookes Catherine McKinnell Catherine West Charlotte Nichols Chi Onwurah Chris Bloore Chris Curtis Chris Elmore Chris Evans Chris Hinchliff Chris Kane Chris McDonald Chris Murray Chris Vince Chris Ward Chris Webb Christian Wakeford Claire Hazelgrove Claire Hughes Clive Betts Clive Efford Clive Lewis Connor Naismith Connor Rand Damien Egan Dan Aldridge Dan Carden Dan Jarvis Dan Norris Dan Tomlinson Daniel Francis Danny Beales Darren Paffey Dave Robertson David Burton-Sampson David Pinto-Duschinsky David Smith David Taylor Dawn Butler Debbie Abrahams Deirdre Costigan Derek Twigg Diana Johnson Douglas Alexander Douglas McAllister Elaine Stewart Ellie Reeves Elsie Blundell Emily Darlington Emily Thornberry Emma Foody Emma Lewell-Buck Euan Stainbank Fabian Hamilton Fleur Anderson Florence Eshalomi Frank McNally Gareth Snell Gareth Thomas Gen Kitchen Gerald Jones Gill Furniss Gill German Gordon McKee Graeme Downie Graham Stringer Grahame Morris Gregor Poynton Gurinder Singh Josan Harpreet Uppal Heidi Alexander Helen Hayes Helena Dollimore Henry Tufnell Ian Lavery Ian Murray Imogen Walker Irene Campbell Jack Abbott Jacob Collier Jade Botterill Jake Richards James Asser James Frith James Naish Janet Daby Jayne Kirkham Jeevun Sandher Jeff Smith Jen Craft Jenny Riddell-Carpenter Jess Asato Jess Phillips Jessica Morden Jessica Toale Jim Dickson Jim McMahon Jo Platt Jo Stevens Jo White Joani Reid Jodie Gosling Joe Morris Joe Powell Johanna Baxter John Grady John Healey John Slinger John Whitby Jon Pearce Jon Trickett Jonathan Brash Jonathan Davies Jonathan Hinder Josh Dean Josh Fenton-Glynn Josh MacAlister Josh Newbury Julia Buckley Julie Minns Juliet Campbell Justin Madders Karin Smyth Karl Turner Kate Osamor Kate Osborne Katie White Katrina Murray Keir Mather Kerry McCarthy Kevin Bonavia Kim Johnson Kim Leadbeater Kirith Entwistle Kirsteen Sullivan Kirsty McNeill Laura Kyrke-Smith Lauren Edwards Lauren Sullivan Laurence Turner Lee Barron Lee Pitcher Leigh Ingham Lewis Atkinson Liam Byrne Liam Conlon Lilian Greenwood Lillian Jones Linsey Farnsworth Liz Kendall Liz Twist Lizzi Collinge Lloyd Hatton Lola McEvoy Louise Haigh Louise Jones Lucy Powell Lucy Rigby Luke Akehurst Luke Charters Luke Murphy Luke Myer Margaret Mullane Marie Tidball Mark Ferguson Mark Hendrick Mark Sewards Mark Tami Markus Campbell-Savours Marsha De Cordova Martin Rhodes Mary Glindon Mary Kelly Foy Matt Bishop Matt Rodda Matt Turmaine Matt Western Matthew Patrick Matthew Pennycook Maureen Burke Meg Hillier Melanie Onn Melanie Ward Miatta Fahnbulleh Michael Payne Michael Shanks Michael Wheeler Michelle Scrogham Michelle Welsh Mike Amesbury Mike Kane Mike Reader Mike Tapp Mohammad Yasin Nadia Whittome Natalie Fleet Natasha Irons Naushabah Khan Navendu Mishra Neil Coyle Neil Duncan-Jordan Nesil Caliskan Nia Griffith Nicholas Dakin Nick Smith Nick Thomas-Symonds Noah Law Oliver Ryan Olivia Bailey Olivia Blake Pam Cox Pamela Nash Pat McFadden Patricia Ferguson Patrick Hurley Paul Davies Paul Foster Paul Waugh Paula Barker Paulette Hamilton Perran Moon Peter Dowd Peter Kyle Peter Lamb Peter Swallow Phil Brickell Polly Billington Preet Kaur Gill Rachael Maskell Rachel Blake Rachel Hopkins Rachel Taylor Richard Baker Richard Quigley Rosie Duffield

Rupa Huq Ruth Cadbury Ruth Jones Sadik Al-Hassan Sally Jameson Sam Carling Sam Rushworth Samantha Dixon Samantha Niblett Sarah Champion Sarah Coombes Sarah Edwards Sarah Hall Sarah Jones Sarah Owen Sarah Sackman Satvir Kaur Scott Arthur Sean Woodcock Seema Malhotra Sharon Hodgson Shaun Davies Simon Lightwood Simon Opher Siobhain McDonagh Sojan Joseph Sonia Kumar Stella Creasy Stephanie Peacock Stephen Kinnock Stephen Timms Steve Race Steve Witherden Steve Yemm Sureena Brackenridge Tahir Ali Taiwo Owatemi Tanmanjeet Singh Dhesi Tim Roca Toby Perkins Tom Collins Tom Hayes Tom Rutland Tonia Antoniazzi Tony Vaughan Torcuil Crichton Torsten Bell Tracy Gilbert Tristan Osborne Uma Kumaran Valerie Vaz Vicky Foxcroft Warinder Juss Wes Streeting Will Stone Yasmin Qureshi Yuan Yang Zubir Ahmed

Independent (9 votes)

Apsana Begum Ayoub Khan Imran Hussain Jeremy Corbyn John McDonnell Rebecca Long Bailey Richard Burgon Shockat Adam Zarah Sultana

Social Democratic & Labour Party (2 votes)

Claire Hanna Colum Eastwood

[pers-books]

The 2024 Shortlist

The BBC’s 13th Annual Celebration of Audio Drama

2023 marked the centenary year for audio/radio drama at the BBC. For 100 years of this unique genre, audio drama and comedy have provided enjoyment, diversion, illumination, insight and escape for listeners, evolving in approach and style as audio practitioners have responded to new ideas and technology with ingenuity, imagination and inspiration. These awards celebrate the creativity of actors, writers, directors, producers, musicians, sound designers and all who work in this vibrant art-form.

The winners will be announced on Sunday 24 March 2024 in a ceremony in the Radio Theatre at BBC Broadcasting House London. The winners of the Imison and Tinniswood Awards (judged and administered by the Society of Authors and the Writers’ Guild of Great Britain) will also be announced at this ceremony.

Best Original Single Drama

Benny and Hitch by Andrew McCaldon, producers Neil Varley and Tracey Neale, BBC Audio Drama London

Churchill versus Reith by Mike Harris, producer Gary Brown, BBC Audio Drama North

Dear Harry Kane by James Fritz, producer Sally Avens, BBC Audio Drama London

Eat and Run by Paolo Chianta, producer Lorna Newman, BBC Audio Drama North

Rare Earth by Richard Monks, producer Nicolas Jackson, Afonica

Voices From the End of the World by Lucy Catherine, producer Sasha Yevtushenko, BBC Audio Drama London

Best Adaptation

The Age of Anxiety by W.H.Auden, adapted by Robin Brooks, producer Fiona McAlpine, Allegra Productions

Beowulf Retold based on the version by Seamus Heaney, producer Pauline Harris, BBC Audio Drama London

Bess Loves Porgy by Edwin DuBose Heyward, adapted by Roy Williams, producer Gill Parry, feral inc

The Dark is Rising by Susan Cooper, adapted by Robert Macfarlane and Simon McBurney, producer Catherine Bailey, Catherine Bailey Productions and Complicite

If on a Winter’s Night a Traveller by Italo Calvino, adapted by Tim Crouch and Toby Jones, producer Nadia Molinari, BBC Audio Drama North

One Moonlit Night by Caradog Prichard, adapted by Rhiannon Boyle, producer Emma Harding, BBC Cymru Wales

Best Original Series or Serial

The 5000 by Sebastian Baczkiewicz, producers Gaynor Macfarlane, BBC Scotland

An Eye for a Killing by Colin Macdonald, producer Bruce Young, BBC Scotland

Flirties, written and produced by Jess Simpson, Audiocraft

There’s Something I Need to Tell You by John Scott Dryden and Misha Kawnel, producer Emma Hearn, Goldhawk Productions

The Tomb by Sebastian Baczkiewicz, producer Joby Waldman, Reduced Listening

Trust by Jonathan Hall, producer Gary Brown, BBC Audio Drama North

Best Actor

Hiran Abeysekera, Dear Harry Kane, director Sally Avens, BBC Audio Drama London

Max Irons, The Bronze Horseman, director Susan Roberts, BBC Audio Drama North

Toby Jones, If on a Winter’s Night a Traveller, director Nadia Molinari, BBC Audio Drama North

Lorn Macdonald, Confessions of a Justified Sinner, director Kirsty Williams, BBC Scotland

Tim McInerny, Benny & Hitch, director Tracey Neale, BBC Audio Drama London

Tom Walker, Call Jonathan Pie, Alison Vernon-Smith, Yada-Yada Audio

Best Actress

Gabrielle Brooks, Bess Loves Porgy, director Michael Buffong, feral inc

Dinita Gohil, Victory City, producer Alison Crawford, BBC Bristol

Maxine Peake, The Women of Troy, director Nadia Molinari, BBC Audio Drama North

Rosamund Pike, People Who Knew Me, director Daniella Isaacs, Merman

Lydia Wilson, Happy Birthday, Mr President, director Gaynor Macfarlane, BBC Scotland

Fenella Woolgar, Lines in the Sand: The Journeys of Gertrude Bell, director Jessica Mitic, BBC Audio Drama North

Best Supporting Performance

Sacha Dhawan, Anna Karenina, director Nadia Molinari, BBC Audio Drama North

Erin Doherty, The Seagull, director Toby Swift, BBC Audio Drama London

Mark Heap, Kafka’s Dick, director Dermot Daly, Naked Productions

Sophia Del Pizzo, There’s Something I Need to Tell You, director John Scott Dryden, Goldhawk Productions

The Marc Beeby Award for Best Debut Performance

Izzy Campbell, Of a Night, director Jessica Mitic, BBC Audio Drama North

Rosie Ekenna, Faith, Hope and Glory, director Anastasia Osei-Kuffour, BBC Audio Drama London

Rosalind Eleazar, Hindsight, director Gaynor Macfarlane, BBC Scotland

Jadie Rose Hobson, Exposure, director Anne Isger, BBC Audio Drama London

Dan Parr, The Test Batter Can’t Breathe, director Tracey Neale, BBC Audio Drama London

Olivia Triste, Rise, director Dermot Daly, Naked Productions

Best Sit Com or Comedy Drama

Call Jonathan Pie by Tom Walker, producer Alison Vernon-Smith, Yada-Yada Audio

Kat Sadler’s Screen Time by Kat Sadler and Cameron Loxdale, producer Gwyn Rhys Davies, BBC Studios Audio

Michael Spicer: Before Next Door by Michael Spicer, producer Matt Tiller, Starstruck Media

Mockery Manor by Lindsay Sharman, producer Laurence Owen, Long Cat Media

She Stoops to Conquer by Oliver Goldsmith, adapted by Barunka O’Shaughnessy, producer Emma Harding, BBC Cymru Wales

Where to, Mate? devised by Jo Enright, Peter Slater, Abdullah Afzal, Nina Gilligan, Andy Salthouse, Keith Carter, Jason Wingard, producer Carl Cooper, BBC Studios Audio

Best Stand Up Comedy

Daliso Chaponda: Citizen of Nowhere by Daliso Chaponda, additional material Meryl O’Rourke, producer Carl Cooper, BBC Studios Audio

Janey Godley: The C Bomb by Janey Godley, producers Julia Sutherland and Richard Melvin, Dabster Productions

Maisie Adam: The Beautiful Game by Maisie Adam, producer Georgia Keating, BBC Studios Audio

Olga Koch: OK Computer by Olga Koch and Charlie Dinkin, producer Benjamin Sutton, BBC Studios Audio

Rob Newman on Air by Rob Newman, producer Eloise Whitmore, Naked Productions

Sarah Keyworth: Are You a Boy or a Girl by by Sarah Keyworth, additional material Ruby Clyde, producer James Robinson, BBC Studios Audio

Best Use of Sound

The Adventurers, sound by Alisdair McGregor, producer Boz Temple-Morris, Holy Mountain

The Dark is Rising, sound by Gareth Fry, producer Catherine Bailey, Catherine Bailey Productions and Complicité

Hamlet Noir, sound by David Chilton, Lucinda Mason Brown, Weronika Andersen, producers Charlotte Melén, Carl Prekopp and Saskia Black, Almost Tangible

Slow Air, sound by Alisdair McGregor and Eloise Whitmore, producer Polly Thomas, Naked Productions

Voices From the End of the World, sound by Peter Ringrose, producer Sasha Yevtushenko, BBC Audio Drama London

The Women of Troy, sound by Sharon Hughes, producer Nadia Molinari, BBC Audio Drama North

Best Podcast Audio Drama

Badger and the Blitz by Richard Turley and Darren Francis, producer Richard Turley, Roxo Ltd

Below by Aaron Gray and Paul Skillen, producer John Wakefield, HTM Television

Flirties, written and produced by Jess Simpson, Audiocraft

The Haunter of the Dark – The Lovecraft Investigations by Julian Simpson, producer Sarah Tombling, Sweet Talk Productions

The Salvation by Justin Lockey, Jeffrey Aidoo, and AK Benedict, producers John Hamm and Boz Temple-Morris, Holy Mountain and Free Turn

Tagged by Brett Neichin and John Scott Dryden, producer Emma Hearn, Sony Music Entertainment and Goldhawk Productions

Best European Drama

Evicted by Karel Klostermann, adapted by Tomáš Loužný, producer Renata Venclová, CZR Czech Radio

Faust (I Never Read It) by Noam Brusilovsky, producer Andrea Oetzmann, SWR Südwestrundfunk with Deutschlandfunk

Irina’s Soul Is Like a Precious Piano by Rona Žulj, producer Katja Šimunić, Croatian Radiotelevision

The Sick Bag Song by Nick Cave, adapted by Kai Grehn, producer Lina Kokaly, Radio Bremen

The Supervisor by Nis-Momme Stockmann, producer Michael Becker, NDR Norddeutscher Rundfunk

This Word by Marta Rebzda, producer Waldemar Modestowicz, Polish Radio Theatre

-- WooHOO! The Haunter of the Dark, part 4 of The Lovecraft Investigations, is up for a BBC Audio Drama Award! I am made up!

[whaliiwatching]

hey, what poem did you use for hobie's face in kaleidoscope crush? (actually, if it's not too much to ask, what poems did you use for the entire piece? your art looks fantastic) :)

thank u so much! i’ll do my best to list em. they should be in order from bottom left, around the character, to bottom right lol

//

from blossoms by li-young lee

saying your names by richard siken

only ever yours by louise o’neill

the second coming by dante émile

//

famous quote by farouq jwaideh (i think)

transformation and transcendence by emily rapp

little dog’s rhapsody in the night by mary oliver

abundance (after mary oliver) by amy schmidt

a moveable feast by ernest hemingway

letters to véra from vladimir nabokov

on a train by wendy cope

i have dreamed of you so much by robert desnos

//

valentine weather by edwin morgan

from my favorite love songs by oozins

tiny beautiful things: advice on love and life from dear sugar by cheryl strayed

for m by mikko harvey

did you know that there’s a tunnel under ocean boulevard by lana del rey

the shortest and sweetest of songs by george macdonald

persephone to hades by nikita gill

the riot act

ordinary things by ryebreadgf

comme des garçons: poem denim jeans by junya watanabe

line from disco elysium

//

from these violent delights by micah nemerever

other lives and dimensions and finally a love poem by bob hicok

coffee and cigarettes by sade andria zabala

letters to milena from franz kafka

drunk confessions by spencer thomas

here again now by okechukwu nzelu

letters to caitlin by dylan thomas

desperation sits heavy on my tongue by tullipsink

i am praying again, awesome one by rainer rilke

i hid my love by john clare

//

and lastly, the one everybody goes wild for:

how will you/have you prepare(d) for your death? by chen chen

[figureskatingfanblog]

Canadian 4CC & Junior World Teams

Four Continents

Men - Wesley Chiu, Conrad Orzel, Roman Sadovsky

Women - Madeline Schizas, Sara-Maude Dupuis, Justine Miclette

Pairs - Deanna Stellato-Dudek / Maxime Deschamps; Lia Pereira / Trennt Michaud; Kelly Ann Laurin / Loucas Ethier

Ice Dance - Piper Gilles / Paul Poirier; Laurence Fornier Beaudry / Nikolaj Sorenson; Marjorie Lajoie / Zachary Lagha

Junior Worlds

Men - Anthony Paradis, Aleksa Rakic

Women - Lulu Lin, Kaiya Ruiter

Pairs - Ava Kemp / Yohnatan Elizarov; Martina Ariano Kent / Charly Laliberté-Laurent  

Ice Dance - Alisa Korneva / Kieran MacDonald, Chloe Nguyen / Brendan Giang; Layla Veillon / Alexander Brandys

[kwebtv]

The Rebels - Syndicated - May 13 - 14, 1979

Historical Drama (2 episodes)

Running Time:  240 minutes

Stars:

Andrew Stevens as Philip Kent

Don Johnson as Judson Fletcher

William Conrad as Narrator

Doug McClure as Elph Tait

Jim Backus as John Hancock

Richard Basehart as Duke of Kentland

Joan Blondell as Mrs. Brumple

Tom Bosley as Benjamin Franklin

Rory Calhoun as Breen

Macdonald Carey as Dr. Benjamin Church

Kim Cattrall as Anne Kent

John Chappell as Henry Knox

William Daniels as John Adams

Anne Francis as Mrs. Harris

Peter Graves as George Washington

Pamela Hensley as Charlotte Waverly

Gwen Humble as Peggy McLean

Wilfrid Hyde-White as General Howe

Nehemiah Persoff as General Baron Von Steuben

William Smith as John Waverly

Warren Stevens as Ambrose Waverly

Kevin Tighe as Thomas Jefferson

Bobby Troup as Sam Gill

Forrest Tucker as Angus Fletcher

Tanya Tucker as Rachel

Marc Vahanian as Marquis DeLaFayette

Robert Vaughn as Seth McLean

[thetrolltolls]

MacDonald Gill could have been a groundbreaking law firm

[tomoleary]

Leslie MacDonald "Max" Gill - Wonderground Map of London c. 1924 original poster

[goalhofer]

2024 olympics New Zealand roster

Athletics

James Preston (Wellington)

Sam Tanner (Papamoa)

Georgie Beamish (Hastings)

Hamish Kerr (Dunedin)

Ethan Olivier (Vereeniging, South Africa)

Jack Gill (Auckland)

Tom Walsh (Timaru)

Connor Bell (Auckland)

Zoe Hobbs (New Plymouth)

Maia Ramsden (Addis Ababa, Ethiopia)

Camille French (Hamilton)

Imogen Ayris (Auckland)

Eliza McCartney (Auckland)

Olivia McTaggart (Auckland)

Maddison-Lee Wesche (Auckland)

Tori Peeters (Cambridge)

Laura Bruce (Christchurch)

Canoeing

Finn Butcher (Auckland)

Hamish Legarth (Hastings)

Max Brown (Cambridge)

Grant Clancy (Auckland)

Kurtis Imrie (Wellington)

Luuka Jones (Tauranga)

Lucy Matehaere (Dunedin)

Lisa Buck (Ōhope)

Aimee Fisher (Rotorua)

Alicia Hoskin (Gisborne)

Olivia Brett (Auckland)

Tara Vaughan (Auckland)

Climbing

Julian David (Tauranga)

Sarah Tetzlaff (Tauranga)

Cycling

Laurence Pithie (Christchurch)

Corbin Strong (Invercargill)

Sam Dakin (Auckland)

Aaron Gate (Auckland)

Keegan Hornblow (Nelson)

Tom Sexton (Invercargill)

Campbell Stewart (Palmerston North)

Sam Gaze (Tokoroa)

Rico Bearman (North Harbour)

Niamh Fisher-Black (Nelson)

Kim Cadzow (Tauranga)

Ellesse Andrews (Christchurch)

Shaane Fulton (Hamilton)

Rebecca Petch (Te Awamutu)

Ally Wollaston (Waikato)

Bryony Botha (Auckland)

Emily Shearman (Palmerston North)

Nicole Shields (Clyde)

Samara Maxwell (Taupō)

Leila Walker (Cambridge)

Diving

Elizabeth Roussel (Auckland)

Equestrian

Clarke Johnstone (Matangi)

Tim Price (Rangiora)

Melissa Galloway (Tuamarina)

Jonelle Price (Rangiora)

Field hockey

Dom Dixon (Hawke's Bay)

Brad Read (Auckland)

Malachi Buschl (Dunedin)

Scott Boyde (Brisbane, Australia)

Dane Lett (Carterton)

Simon Child (Auckland)

Charlie Morrison (Christchurch)

Joe Morrison (Christchurch)

Jacob Smith (Wellington)

Sam Lane (Temuka)

Simon Yorston (Christchurch)

Nic Woods (Hamilton)

Kane Russell (Dunedin)

Blair Tarrant (Timaru)

Sean Findlay (Taradale)

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[portfolioleticiasepulveda]

The Reality Behind Consent - A Study of How Affirmative Consent Discourses Treat the Topic with an Unrealistic Approach 

Introduction

The word “consent”, on which the present article is centred, allows several interpretations. In its literal sense, the word is defined as the action of “agree to do something” or as a “permission for someone to do something” (Cambridge Learner’s Dictionary 2023). The meaning may seem simple at first glance; however, “consent” has a complex meaning, and it is the main topic of several discussions among scholars, especially when it is analysed in sexual encounters. Hall (1998, p.6) defined it as a “voluntary approval  of  what  is  done  or  proposed  by  another”; Hickman and Muehlenhard (1999, p.3) considered sexual consent as the “free verbal  or  nonverbal  communication  of  a  feeling  of  willingness”, and Beres (2007, p.98) defended “a version of  consent  defined  as  being  ‘freely given'", which focuses on  women’s  and  men’s  willingness to engage in sexual relations and disconsiders the ideas of “valid” or “invalid” consent. 

Around the discussions regarding consent and sexual violence, especially among university students, the concept of “affirmative consent” appears as a trend to be considered in law, policy and educational efforts. The model requires sexual consent to be a positive indication that people want to engage in sexual activities, instead of considering the absence of resistance or refusal (Beres and MacDonald, 2015). Following the same logic, California passed the Senate Bill 967 - Student safety: Sexual assault, which was labeled as the Affirmative Consent Bill in 2014. Beyond requiring “affirmative, conscious, and voluntary agreement to engage in sexual activity” (De León et al., 2014, p. 1), it describes affirmative consent as a joint decision, stating: “it is the responsibility of each person involved in the sexual activity to ensure that he or she has the affirmative consent of the other or others to engage in the sexual activity” (De León et al., 2014, p. 1). The law also establishes that affirmative consent can be revoked at any time and cannot be assumed based on a dating relationship between the people involved, or on past sexual relations between them. With the aim of analysing “affirmative consent” measures / discourses and their techniques, the present article will focus on three well-known campaigns: “Consent is Sexy”, a mantra designed to highlight the pleasurable benefits of affirmative consent (Nash, 2019, p.200); the video “Tea and Consent” released by the Thames Valley Police in England in 2015, which claims that consent is “simple as tea” and “Sex Signals”, a program that presents skits focused on gender roles. 

Contemporary campaigns related to affirmative consent discourses use it as a sexual regulation strategy to prevent sexual violence. Despite the effort to address the importance of agreement and permission, these campaigns result in a negative example of sexual regulation when sexual encounters are presented in an unrealistic way and when social factors are disconsidered. The issue is analysed by this article in three topics: consent defined as an enthusiastic “yes”, which leads to the definition of sex in the categories awesome or rape (Fischel, 2019); the concept of consent addressed as a simple matter that does not take into account gender norms and gendered power dynamics (MacKinnon 2006; Nash, 2019), and the mistaken premises that consent can ensure women’s freedom and equality (Beres and MacDonald, 2015) emphasizing what Gill (2007, 2008) describes as “postfeminist sensibility”, a concept that blends feminist and anti-feminist elements. The importance of dealing with this research topic in light of the existing theoretical foundations lies in the need to analyse consent issues, taking into account the complexities related to it, avoiding negative consequences that may be caused when the topic is simplified, such as young people feeling assaulted when sexual experiences are not satisfactory (Fischel, 2009), the invisibility of all cases where sex is consented but unwanted, a fact surrounded by gender and social norms (MacKinnon, 2006), and young women feeling blamed because they were unable to protect themselves from cases of sexual violence (Brady and Lowe, 2020).

Sex divided in the categories awesome and rape 

Campaigns in several universities around affirmative consent are an important part of the intitutions’ effort to ensure ethical and legal sexual relations involving students. Many times, a key point promoted by these campaigns is the assertion that affirmative consent is a way to engage in legal sex and also a way to enhance pleasure; the topic is well-exemplified by the “Consent is Sexy'' campaign circulating in college campuses in the United States through posters, buttons, and shirts. According to Nash (2019, p.200), in this context, “affirmative consent is rebranded from a regulatory regime that distinguishes legal and illegal sex to a pleasure-maximization strategy.” It is important to notice that in the United States, the campaigns related to affirmative consent in universities emerged from the bases of Title IX, the most commonly used name for a civil rights law enacted in 1972, which states that “no person in the United States shall, on the basis of sex, be excluded from participation in, be denied the benefits of, or be subjected to discrimination under any education program or activity receiving federal financial assistance.” The law bans sex discrimination in education which includes sexual harassment and rape; The Department of Education’s Office of Civil Rights (OCR) require colleges to have prevention and investigatory responsibilities when cases of sexual violence are reported. In case of failure, they may be investigated with the risk of losing federal financial assistance, while facing the critical gaze of both media and social activists. Currently, 357 cases of sexual violence are under investigation at elementary-secondary and post-secondary schools in the country (U.S Department of Education, 2023). The high number of cases reflect the alarming situation present in the institutions which boosts their efforts to defend legal sexual relations envolving students.

Despite of addressing the importance of sexual permission, campaigns related to affirmative may attribute other significances to the word “consent” leading to a simplistic interpretation of sexual relations. Fischel (2019, p.4) argues that a key problem of consent in sex politics is related to “a ridiculous definition of consent as enthusiastic, imaginative, creative yes-saying”, and also highlights the fact that bad sex, even if consensual, can be unwanted, unpleasant, and painful - an issue that is not addressed by consent. The author argues that “[conconsent-as-enthusiasm paradigm] divides sex into the categories awesome and rape and leaves unaccounted and unaddressed all the immiserating sex too many people, typically women, endure” (Fischel, 2019, p.4). By relating content to a “enthusiastic” permission, campaigns regarding affirmative consent leave behind cases of consensual sex without pleasure, which can be practised in many contexts, such as by people who are willing to experience sex in ways that might be painful or uncomfortable, and even by the ones who are having sex for the first time. Thus, affirmative consent discourses can attribute different meanings to consent and address sex relations in an unrealistic way.

The practice of dividing consensual sex as good sex and bad sex as rape, present in affirmative consent discourses, can also lead to serious consequences (even legal ones), if people consider all bad sexual experiences as sexual assault, and generalise the idea of consent. Fischel (2019) indicates worries related to the premise that the more consent is equated with enthusiasm and pleasure, the more students will feel sexually assaulted when sexual experiences do not go well. The author argues that the effort to deal seriously with sex without pleasure will have a disastrous effect if all unpleasant (but agreed) sex is considered sexual assault since consent were made more than it should be. Following the argument, professors Gersen and Suk (2016) criticize the “bureaucratic tendency” of merging sexual violence with ordinary sex, which, in their opinion, trivializes the serious problem of sexual assault, concluding that “the sex bureaucracy regulates ordinary sex, to the detriment of actually addressing sexual violence, and unfortunately erodes the legitimacy of efforts to fight sexual violence” (Gersen and Suk, 2016, p.946). Considering the presented arguments, consequences regarding the simplistic way that sexual relations are addressed by affirmative consent discourses are legitimate and need to be revised and transformed in order to avoid negative consequences. However, it is important to emphasize that unwanted sexual relations can happen even if consented, especially in situations where gender norms and inequalities are present (West, 2002; MacKinnon, 2006). Thus, cases of alleged sexual violence must be treated seriously and its specificities taken into account.

Beyond the practices for consent, scholars advocate for a better way to politicise sex. Fischel (2019) suggests the analysis of why people are consenting to unwanted sex and how the society can make sex better, while exposing the option of facilitating access to sexual information and health resources, as well as interrogating gender norms, rather than prioritising “best practices for consent”. In an article published in “The Washington Post”, the author Christine Emba advocates for a “new ethic” based on mutual concern that takes into account power differences regarding age, gender, experience, intoxication level, and expectations of commitment in sexual relations, concluding that “it is a much higher standard than consent. But consent was always the floor — it never should have been the ceiling” (The Washington Post, 2022). On the issue regarding prevention, Brady and Lowe (2020) affirm that a lack of understanding of the complexities of young women's sexual relationships is unhelpful when the aim is to reduce levels of violence. The scholars emphasise that simplistic understandings that overlook gendered power dynamics may, instead, reinforce women’s feeling of blame when they have been assaulted. On the same matter Kitzinger and Frith (1999) advocate that prevention programmes need to use empirical evidence of how refusals are expressed and understood, instead of idealising prescriptions that do not consider cultural conventions. After these considerations, it is important to point out that all the aspects addressed by the authors need to be considered in order to produce strategies and policies able to combat sexual violence in an effective way.

Consent taken as a simple matter

Campaigns regarding affirmative consent also address consent as something simple and many times explicitly related to the word “yes”, which once again represents sexual relations in a unrealistic way, leaving behind the fact that consent is permeated by social norms, social pressures, and gendered power dynamics. The issue is well exemplified by the video “Tea and Consent” released by the Thames Valley Police in England in 2015. By analogizing consent to drinking tea with consent in sexual relations, the video addresses an important message about permission with the following sentences: “if they say, ‘no, thank you', then don't make them tea at all”; “they did want tea, now they don't. (...)  It's OK for people to change their mind. And you are still not entitled to watch them drink it”, and “unconscious people don't want tea”. However, by stating that consent is “simple as tea,” the video fails once it does not take into account complexities of gender inequality and social norms present in sexual conduct. The failure is expressed by the sentence “whether it’s tea or sex, consent is everything.” However, considering the social context in which the issue is present, consent is far from being everything. As well as affirmative consent, it can be forced, intimidated, and manipulated (MacKinnon, 2006, cited in Fischel, 2019). In her critique of the affirmative consent discourse, MacKinnon (2006, p.465) asserts that “under unequal conditions, many women acquiesce in or tolerate sex they cannot as a practical matter avoid or evade.” With this same logic, Brady and Lowe (2020) affirm that simplistic understandings that overlook norms present in sexual relations may leave young women with the feeling of blame for being unable to protect themselves. They claim that, when assuming sexual consent as a simple matter, those who find it difficult are considered incapable to follow clear instructions. Therefore, “those who are unable to negotiate sexual consent unproblematically are thus positioned as at least partially responsible for their behavior” (Brady and Lowe, 2020, p.86). Beyond addressing sexual relations in an unrealistic way, when consent is considered as a simple matter, it also makes invisible the situations where sex is consented but unwanted. Therefore, in an attempt to simplify a complex matter, affirmative consent discourses leave important social issues (that must be addressed by social reforms) behind. 

As well as the video “Tea and Consent”, the popular sexual assault prevention program called “Sex Signals”, which is performed in several universities in the United States, is an example of an affirmative consent campaign that addresses consent as a simple matter. The program presents skits that combine theater, comedy and audience interaction, in order to implement sexual assault prevention. According to Catharsis Productions, the platform that offers the program, “it includes an intersectional lens to critique how stereotypes about sexuality and gender identity contribute to a culture that privileges some and objectifies others” (Catharsis Productions, 2023). The initiative succeeds in demonstrating that campus environment and interactions are marked by the complexity of ideas of gender roles and norms, but fails as well as the video “Tea and Consent”, when defending that these complex aspects can be simplified by affirmative consent. The issue is emphasised by Nash (2019, p.210) when the scholar asserts that “even as ‘Sex Signals’ insists on naming the tenacity of gender roles in shaping sexual encounters, it presumes that gender roles can be diffused simply through a mandate of receiving a ‘yes’— and that students can effectively be taught this in a thirty-minute skit.” Beyond simplifying social aspects, affirmative consent discourses also may be unrealistic regarding the use of verbal consent. Studies conducted by Hall (1998) and Jozkowski and Peterson (2014) show that college students are less likely to use verbal cues to express consent in sexual interactions than nonverbal cues, with no differences in frequency of usage by men and women. When considering relationship status, Jozkowski and Peterson (2014) and Humphreys (2007) found that, compared to single individuals, those in a relationship are less likely to use verbal cues to indicate sexual consent, which indicates that the more intimate the relationship, the less verbal cues of consent are used. Kitzinger and Frith (1999, p.310) claim that women find it difficult to just say “no” to sex because “saying immediate clear and direct 'no's (to anything) is not a normal conversational activity.” They suggest that, instead of saying “no”, women are acting in ways that normally are recognized as refusals in everyday life. According to the authors, the insistence of prevention strategies on the importance of saying “no” is counter-productive, since they are demanding women to engage in unreal conversations; furthermore, it allows rapists to claim that if the victim did not say no, then, she did not refuse to have sex. The discussion shows that verbal consent is not always part of traditional sexual interactions. Therefore, insisting in unrealistic approaches does not contribute to prevent sexual violence.

Does consent provide freedom and equality?

Affirmative consent discourses may present mistaken premises of freedom or equality when sexual interactions are simplified; such practice is flawed because it does not take into account important elements in societies, such as social and gender norms. Hence, the trouble with these notions becomes clear when the social contexts within which individuals engage in sex are finally considered (Beres and MacDonald, 2015). A woman might consent to sex she does not want because she fears her partner’s foul humour, or because she has been taught that it is her lot in life to do so. A particularly young woman or teenager may consent to unwanted sex because of social pressure, or because she does not want to hurt her partner`s pride (West, 2002); the use of verbal pressure or emotional manipulation can lead to sexual consent (Basile, 1999), and women also can engage in unwanted sex through the logic of an ‘economy of sex’, in which they exchange sexual relations for love or intimacy, elements considered essential for a relationship to be successful (Gravey, 2005). All these situations are examples of consensual sex but none of them have guaranteed women’s freedom or equality, which are complex concepts that can not be reached by a simplistic notion of consent, or unrealistic approaches of sexual relations. 

Burkett and Hamilton (2012) developed a research study with eight young women (all university students) aged between 18 and 24 during mid-2010 in which they also found that sexual encounters are influenced by gendered discourses and norms. The authors defend that the issue around sexual consent must take into account what Gill (2007, 2008) describes as “postfeminist sensibility”, a concept that blends feminist and anti-feminist elements. They emphasised that the participants reflected the character of “postfeminist sensibilities” once they showed perceptions of women’s rights to sexual agency, but vilified their own and other women’s inabilities to control sexual encounters. The authors also claim that, unlike many sexual violence prevention policies portrayals, women are not innately free individuals who can just say no. Instead, they suggest that women are able to view themselves as empowered but continue to reproduce heteronormative norms. The view is well-exemplified by a participant called Lisa. She advocates that women must refuse verbally to unwanted sex (just say no), but reveals that even when she changes her mind about engaging in a sexual relation, she continues it in order to not feel guilty and to satisfy her partner: “it’s not like I did it because I really didn’t want to it’s just that I did it because it would make the other person happy – a selfless act. They’ve never been forceful or scary or anything so I’ve never felt like there was nothing I couldn’t get out of if I actually wanted to” (Burkett and Hamilton, 2012, p.822). When analysing this report, it is possible to notice that Lisa claims she had a choice, despite the fact that she was not able to change her mind; moreover, she may not have noticed the contradiction in her words. The research shows as well that the participants strongly adhere to risk-avoidance discourses; however, based on their sexual experiences, they affirmed that verbal communication during sex is not considered normal; instead of it, sexual intentions are judged by physical demonstrations, and by what is felt “in the moment”. The finding is exemplified by the testimony of a participant called Holly: “I found it sort of easier when you both just sort of don’t say anything and just go with that sort of in the moment kind of thing ...I think it’s more physical and telling by their body language that they want to have sex” (Burkett and Hamilton, 2012, p.821). According to the authors, this incongruity about what is perceived and what is done is present in the contradictions of the postfeminist sensibility concept. They claim that “it assumes a compulsory sexual agency (i.e. women are free to control and choose their sexual relations), regardless of the persistence of gendered sexual pressures, which in turn reframes coercive sexual encounters as the result of a woman’s lack of assertiveness” (Burkett and Hamilton, 2012, p.821). The findings reinforce that consent issues are not simple and absolutely do not ensure women's freedom and equality. Opposite to this premise, it is opportune to quote MacKinnon (2007) and her assert that an emancipated world would be one in which women have sex only when they want it. 

Conclusion 

This essay has shown that, despite the effort to address the importance of agreement in sexual relations, affirmative consent campaigns are a negative example of sexual regulation since they address sexual encounters in unrealistic ways, and do not take into account important factors around consent issues, such as social norms and gendered power dynamics. Campaigns that insist on the use of verbal cues for consent may not be effective because they consider sexual interactions in ways they do not normally happen (Hall, 1998; Peterson, 2014; Jozkowski and Peterson, 2014; Humphreys, 2007, and Kitzinger and Frith, 1999). Moreover, affirmative consent discourses disregard all the cases in which consent was  forced, intimidated, or manipulated (MacKinnon, 2006).

To explain the main claim, the article considered the techniques and discourses used by affirmative consent strategies through three well-known campaigns: “Consent is Sexy”, which is very present in college campuses in the United States; the video “Tea and Consent”, a content released by the Thames Valley Police in England in 2015 that presents an analogy between consent and drinking tea, and the program “Sex Signals”, which promotes skits focused in gender roles that are performed in several universities in the United States. The article also analyses the three following aspects: the use of consent as a enthusiastic “yes” and the premise that defines sex as awesome or rape (Fischel, 2019); consent addressed as a simple matter, hence presented in a unrealistic way (MacKinnon 2006; Nash, 2019), and premises that consent ensures women’s freedom and equality (Beres and MacDonald, 2015). 

Considering the analysis on the proposed topic, the article concludes that consent is not a simple matter; instead, it has many interpretations and complexities that must be considered in order to avoid negative consequences propagated by affirmative consent discourses, such as the feeling of harassment when a sex experience is not good (Fischel, 2019), the invisibility of cases when sex is consented but unwanted (MacKinnon, 2006), and the practice that blames victims of sexual violence (Brady and Lowe, 2020). Furthermore, when consent is considered as a simple issue, such as in the campaigns analysed by the article, gender norms and inequalities are ignored, instead of being considered with the aim to create actions for social change that could contribute to comprehensive and realistic approaches to sexual relations, healthier relationships, female empowerment, and to a more equitable society. 

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