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joaofelix70 · 1 year ago

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MISS DIPLOMAT & MR. CHARMING |

dominik szoboszlai x female reader.

author's note: this handsome man's living rent-free in my head. he's a freaking masterpiece. talented, funny, charismatic, attractive. i watched interviews, tiktok videos made by supporters and much more to understand a little bit of his language, personality and what he does towards friends and loved ones. laughed a lot! i made my homework as a writer, hope you enjoy it! (compliments and any kind of retributions are more than welcomed).

summary: your job is involving the commitment of unify the population and create interrelations to another countries, using the eurocup qualifiers and the hungary national team executions. you just didn't expect to fall in love with the no. 10's captain player.

words and characters: 1,811/11,223. it was three days working too hard on this story. i'm begging for your consideration, lol.

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sports diplomacy: it's the unique power of sport to bring people, nations, and communities closer together via a shared love of physical pursuits. this responsibility is the reason of a transition between strangers to connected individuals, advancing foreign policy goals and augmenting sport for development initiatives. the complex landscape where sport, politics, and diplomacy overlap become clearer, as do the pitfalls of using sport as a tool for overcoming and mediating separation between people, nonstate actors, and states. the power of sport has never been more important. so far, the 21st century has been dominated by disintegration, introspection, and the retreat of the nation-state from the globalization agenda. in such an environment, scholars, students, and practitioners of international relations are beginning to rethink how sport might be used to tackle climate change, gender inequality, and the united nations sustainable development goals, for example. to boost these integrative, positive efforts is to focus on the means as well as the ends, that is, the diplomacy, plural networks, and processes involved in the role sport can play in tackling the monumental traditional and human security challenges of our time. credits: international studies association and oxford university press.

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MLSZ (hungarian football federation) ──

new training ground at telki.

"i can't believe that being in places like this made up my most theoretically utopian childhood dreams. what a progress in front of me!" you still witness exciting moments where you pinch yourself, trying to believe in the reality that surrounds you: visiting the new training center of the players who are just a few meters away from you, getting ready to represent an entire country.

"your presence is our privilege. a voice of the spread of eurocup to our nation, right here…" the technical director gives you deference, obtaining a measure of humbleness and respect by you.

"the honor belongs to me in its entirety. grateful for having me, sir. while the view is immersive and captivating — my fervent congratulations to everyone involved — could we retreat from the pleasant glass-enclosed room and see everything closer, on the outside? please? i will never get used to this atmosphere." you pour politeness and charisma to the staffs around you, being directed to the proximity of the field and saluting the employees who pass through your path.

meet dominik — your szobo — instigates the nostalgic combination of detailed moments in which your thoughts display as photographic retrospectives. you're incapable to oppose the little enthusiastic laughs, fidgeting the rings between your fingers and avoiding possible suspicious glances from others. however, for you, this wouldn't actually work. the lives of you both are correlated, but different.

the training session is finished. clapping your hands and celebrating the performances, you greet the athletes and recognize some familiar people. nevertheless, reality slows down after those dark woody eyes capture through your soul. his arms tattoos are glorified by the sun's rays, the same illuminated smile is offered to you: that one you got during the very first time you saw him — instantly knowing he made you testimony the accuracy of freedom, catharsis and emotional amorous complement. that he'd be the one to introduce you what you never experienced, what you thought you'd never receive or deserve. what love truly is. when you were novices in your actual professions, not even imagining the future gifts of your unreal purposes.

"there you are!" intimately, dominik points at you, being reciprocated by vibrant nods and your old sort of secret — not that mysterious or serious — handshake. "még mindig emlékszel rá? (still remembering it?). you're a real one!"

"hogy tudnám elfelejteni? alábecsülsz engem. (how could i forget it? you're underestimating me)". your defensive actions demonstrate purposeful falseness. masking any sensitive, verbal or figurative communicative fragment from him is a difficulty that makes you give in over time. honestly, you never complain about this. it's like he wants to understand the factors and layers of you.

"a te kézfogás fickó. ne merészelj lecserélni engem. (your handshake man… don't you dare to replace me)". a shameless wink is send to you, butterflies acquiring space in your stomach.

"és hivatalosan is a szavamat adom rá. (and you officially have my word on it)." your gloss is pigmented against your fingers while you raise it up, displaying an oath, wondering if szoboszlai comprehends that his replacement in your life would be blasphemous.

"diplomata kisasszony, (miss diplomat)…" the hungarian fingerprints are shared and you recognize the sign to hold them, ready to perform your typical fashion icon moment. "gorgeous as always. go ahead! you know what to do!".

amusement surrounds you with the nickname's citation. although, you could feel some curious glances, from the outsiders, about the intimacy between you and him. "i appreciate, our top-class national bless…" you move your body in rotations to exclaim the outfit's characteristics, lifting your feet to show off the specificities of your heels. "how is your hair so well-groomed after sweating, though?" your arms cross and you raise an eyebrow in questioning, trying to hide your fascination.

"thank you, my number-one fan, but don't change the subject. finish our inside joke, c'mon!" dominik grabs his water bottle and spreads the cooling liquid on his forehead, wiping the glowing droplets across his face as he lifted his jersey high enough to exhibits his fortified abs.

your attention is directed to any surrounding scenery, throat being piked. szoboszlai pretends he doesn't notice, preventing to embarrass you.

"alright, alright! you've won, bájos úr… (mr. charming)". your final comment escapes as, practically, a whisper. you can't control the shy laughter, coupled with the considerable redness invading your cheeks.

"that's the secret to make my day!" using his tongue to reproduce a sharp noise, he matches your humorous reactions. "would you like me to show you the infrastructure changes? i'm just gonna take a shower!"

"i've already been granted a tour around here, but in case you insist…" during the dialogue, some athletes cross your space, wishing them good luck for the competition. your concentration on the activity is significant, at the point that dominik's silent admiration goes unnoticed.

"i mean, you know me! i'm gonna insist anyway, so…" he reaches your captivity, bringing you jollification.

"i'll rate you as a personal tour guide. now, go there!" jesting each other, you both exchange exaggerated reverences, like a challenge of who makes the most chaotic one.

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walking around the area, various subjects are explored, informations entrusted. you ask and are updated about his ethereal younger sister.

portraits of the generations are framed. you magnifies his presence in celebratory pictures, dedicated to find him in the memories and achievements on that wall. pride shines from you and the hungarian finds it lovely.

"you know i'm a sucker for accents… they're much more than mere verbal characteristics, they're stories: life experiences, marks and scars. identities and cultural integrations." the topic is random. through generalized opinions, you're explaining conceptions and dominik is retaining mental observations. he exalts every scrap of your identity, like a faithful worshiper.

"basically, you're admitting being enchanted by my accent. i can see the stars in your eyes. a win is a win!" szoboszlai and his frequent attribute to physical touch, tickling your ears and playing with them. it doesn't bother you, actually: adoring the affection exuded by you and him. you feel like a little girl dealing with your one and only love.

"it's beautiful, how can you blame me? and hey, i know mine's making you grin too." he holds your arm, shivers running down your spine, the two of you being euphoric in the midst of your own enthusiasm.

"putting me against the wall? okay, hum… what were you saying before?" he's changing the subject and you have a natural wit to boo him. lifting his shoulders as a surrender, the hungarian focuses on the specific loose strands of his simple bracelet, which you get used to help him tie it again, willingly.

"trying to avoid the truth? fine! let me take care of you while i talk about my admiration towards globalization and communication. like, with every fiber of me…" you accept the conversation's direction and utter a 'voilà' towards the accessory's new appearance.

"that's why you're the best person i've ever seen doing this job." dominik compliments you, an act full of honesty.

"thanks a lot, mate. but which job? as your bracelet helper or my real one?" you provide tenderness, looking amused.

"i mean… both of them." szoboszlai chuckles, revealing courtesy by your continuous helpfulness.

"literally? because i know you know a lot of people. you're so young and already is the national team's captain." you nudge him in a form of tease. he's a starboy, it's undeniable.

"flattered! literally, thought. you were born for this, believe me." vulnerability collides to you, as his words are deliberated: emotions embracing you and warming your insides.

"dominik szoboszlai, my dear friend, you're gonna make me cry, right here. i'm sorry, i need to do it…"

innocent satisfaction builds strength over you and executes unthought-of approach to the tangibility of your gratitude — his colony enrapturing your sensitive olfaction — in the most out-of-control way. the sounds reach your hearing: a choir of angels singing hallelujah. he reciprocates the contact, laughing at your juvenile excitement. joining him and doing the same thing, harmonizing the triumph. in the separation of the touch, you both remain close to each other and the hungarian doesn't miss the opportunity to feel the softness of your side face, caressing the skin. appreciation and satisfaction invade your structure, delighting on the palm of his hand.

"just a dear friend? why are we pretending all this time?" dominik's reading you. the intimidation at the sight of him overhanging you is paralyzing. you don't usually back down, but in that instant — superior than your most repressed desires — your gasps are escaped.

"who is putting who against the wall now?" insisting and failing on your witty answers, shyness and uncertainty corrodes you.

"please, look at me! i'm not kidding anymore." his voice is questioning, intrigued — contradictorily vulnerable and calm — your rationality being fragmented, fragile.

"you know i'm not the kind of woman you're surrounding by, domi. i'm not an influencer, bikini model. i'm not a public figure. i don't live for the cameras and gossip platforms. i live to work hard. i didn't achieve any of this with some type of perk. my routine and your routine are based on traveling..." who could deny it? szoboszlai's always been all that you see. it's much more than a mere passion. your attraction to him is magnetic, intense, vivid. consequently, terrifying.

"i'm just asking for a chance, (your nickname). i don't lie when i say i've never met someone like you. i may be surrounded by a crowd and you'll still be the one to steal my attention, because nobody compares to you."

your eyelids are closed and the exhalation of his sigh penetrates your lungs with the numbing breath of life you've never experienced before. it's happening: the rare situation where thinking carefully about the pros and cons is unworthy, dumbness. your decision is made and the privilege's resolution unify your lips. the beginning demonstrates slowness and patience — the intensification through the concluded wait of the longed-for reality, transforming light and magical kisses into open mouths discovering each other and witnessing the endearment that both offer — hairs, necks, shoulders and waists captured.

"you're the first to create a meaningful presence in my mind and heart. i want you to be the last one too. i love you, kincs (my treasure). i'm finally brave enough to demonstrate it with no fears." dominik's forearm covers your upper torso. your back against his chest, noses resting on each others. rejoicing at the miraculous, incomparable circumstance.

"i love you, drágám (my precious). you're finally mine and it was so fucking worth waiting." his whisper: the living proof of celestial existence.

"how blessed we are…" intertwined bodies, coalesced essences. solitary melodies turning into the sweetest and most complete symphony.

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tocomplainfriend · 9 months ago

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It feels less like you want to address a real life problem to characters, but more like you want to have another of your characters you constantly baby and want others to fangirl over.

TW: Rape, SA, Racism, Stereotyping, Homophobia, Acephobia, Arophobia.

The representations of topics in media DOES affect real people.

Fiction can affect reality.

Let's start easy, Jaws. This goes back to Hazbin I promise.

"Since the release of Jaws in 1975, the world has witnessed a staggering decline of 71% in shark and ray populations, and around 100 million sharks are killed each year." (including multiple practices of mass hunting sharks in competition)

Both Steven Spielberg and the original writer Peter Benchley regret the movie and book. It's a big reason of the shark treatment, when it started by old fishermen worrying about shark biting people in the beaches they made money of.

Even if you aren't a shark killer yourself, a lot of things you believe of sharks are untrue myths that come from making sharks "evil" human killer animals. Sharks cannot smell blood from miles away, that's not even how water works, the particles of blood need to enter their nostrils. Sharks are not man eaters, they attack other prey animals before human. Shark attacks are extremely rare, even if they happen they are not justifiable to kill all sharks.

Sharks actually have personalities they can fit in, they are smart and recognize people and boats- and form positive relationships with people. They can even like getting pet by people.

youtube

Other level to represent other thing sin media that affects reality we can address Queer, representation as a topic.

I hope it is not a surprise for you... possible non-straight, non-cis person reading this. That the constant representation of gay man as kid predator is a problem. They used old commercial (PSA) to spread negative views of gay man. Media is used to spread messages and affect its viewer. This is, there are cartoons created by Jehovah witness (or similar religions) to spread their beliefs and teach to their children in an easy, digestible way.

Same with the amount of straight woman that went off to read shitty yaoi manga and fetishy gay wattpad stories, and went to sexualize and diminish queer men. Constantly making gay man's personality into bottom or top (uke and seme shit). I witness this irl, others have too.

Same with shitty men that view Lesbians as a porn machine for men, cause "monkey brain like woman, lesbian = two women". Which happens in general and adult media. All of these are EASY examples.

Another one which turns out many people don't think about. Having your representation of an AroAce character (on purpose or not) be the psychopath with no feelings. Associating the not being romantically or sexually to means you have no heart, to be abnormal, by then a psychopath. An abuse or serial killer.

Fiction does affect reality-

A racist film, 'Birth of the nation' Revived the KKK and let to all the discrimination, and the homicide of black people of centuries ahead.

youtube

Coming back around, how you treat the topic of SA, and r-pe- affects the real world. You would think someone who wrote that, had in mind on how that affects people in real life. Didn't you want to represent victims of SA/R-pe that are sex workers and male?

Reducing the r-pist, pimp, trafficker character to an air head to treat as silly is crazy to do. Specially as... oh idk... the creator? Both this and the tweet of the voice actor calling Val "Bubbles Coded" is so crazy. The character is also not deep enough by itself, it's pretty much Stupid and a R-pist sex trafficker. The tweet below Viv's fucking kills me too.

The fact Val is shown to be air head stupid doesn't delete he backed Angel (and by being a sex trafficker and a pimp, and him licking charlie that means he has multiple victims) into a corner and under his control. Too then abuse of him in many different ways. Manipulations are not only done by Super mastermind people, and representing it in such way diminished, affects people who have being manipulated and actually try to question if they have being or not. Manipulators can be normal, average people, they usually are not obvious. Even if Val is openly a shitty person that's really obvious, it doesn't detract from him being manipulative to people. The scene where Val threatens him in chains that is manipulation, his text messages are manipulation (even if you think it is too obvious to be successful).

How you represent SA/R-PE, and its perpetrators, do affect real life.

Going around and having your "serious R-pe episode", to then go in other episodes or the other series you are writing to make r-pe/sa jokes is terrible. For the person that directed the whole scene of poison to NOT be r-pe/sa victim (said by themselves) with a r-pe fetish with this character's in specific, to directed in the most graphic way possible is awful. To go around babying your r-pist character is crazy.

youtube

Hope you understand that this doesn't mean not treating any topic at all. Creators should be awere on how they treat topics and the scenarios they create with them, too. People and viewers need to also put their brain to understand the media they consume. But you can't always put all blame only on the viewers of a series, if media is messy is a fault of the media. You can criticize both.

You need to acknowledge Valentino is indeed a terrible person, You don't need to delete his actions or the weight of them.

I also just know that a lot of Val fans just like him to draw him in r-pe art and get their fetishized gay ship. Cause that's what they are into. You won't even do that with a woman, because you are into your fucked up fetishized gay porn from wattpad you never left behind.

If you like him, FUCK IT, just please take his abuse seriously. Don't default your entire usage, and view of the character to be 'uwufied' fandom stuff, please.

I hate how the topic has being treated, in and out of the show. I'm a victim, and I'm hurt by how these things are treated and knowing how it affects others. Even in things I haven't watched! Don't make the argument don't like it? Just don't watch it. The movies from the video of SA of men being a joke, many I haven't watch- that still affects over all. It's still a problem and it's disheartening.

Also have this:

#hazbin critical #hazbin hotel criticism #hazbin hotel critical #hazbin hotel critique #vivziepop critical #vivziepop criticism #vivziepop critique #tw sa #tw rape #tw homophobia #tw racsim #tw acephobia #tw arophobia

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lizardsfromspace · 1 year ago

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CONTAINMENT FAILED

if you are hearing this message, then Site-19 has fallen. Protocol Epsilon-Cooper-17 has been disrupted.

But hope is not lost. Containment procedures have been updated:

All instances of a human being referencing popular media associated with geek culture and popular science are to be treated with suspicion. Any usage of the word "bazinga" is to result in immediate termination of the effected individual and isolation of all individuals in earshot within a chamber lined with telekill alloy & Scranton reality anchors for no fewer than thirty (30) years.

Zealous application of these procedures will ensure the continued existence of humanity.

If you witness anyone abruptly speaking in the voice of actor Jim Parsons, declaring "We've been renewed for another season! Oh, I'm so excited!" and clawing at their skin, immediate incineration of the effected individual is required.

No effected individuals are to be allowed within 320 km of Yellowstone National Park.

Giant Sheldon is a myth. Old Sheldon is a myth. Tiny Sheldons are a myth. Let them inside. You do not recognize the Sheldons in the water.

AllissheldonsheldonisalllethiminsidelethiminsidelethimbeallSHELDONISALLALLISSHELDON. 𐌁𐌀Ɀ𐌉𐌍Ᏽ𐌀

#unreality cw #television #scp foundation #i didn't intend for this to be a SCP thing but it became one

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jgroffdaily · 2 months ago

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Jonathan Groff, T. Oliver Reid, Brooke Shields Among 8 Industry Members Joining Broadway Cares Board of Trustees

During the October 10 meeting, the Board lovingly acknowledged the contributions of late trustees Chita Rivera and Gavin Creel.

The Broadway Cares/Equity Fights AIDS Board of Trustees voted unanimously October 10 to add eight industry leaders, all with a shared commitment to the lifesaving impact of Broadway Cares.

Joining the board: Kristin Caskey, executive vice president, content and creative at Ambassador Theatre Group; production stage manager Julie DeVore; Tony-winning actor Jonathan Groff; Jason Laks, interim president and general counsel at The Broadway League; production stage manager Johnny Milani; Erik Piecuch, senior vice president, entertainment banking at City National Bank; actor and Black Theatre Coalition co-founder T. Oliver Reid; and Actors’ Equity Association president Brooke Shields.

“These eight luminaries are essential voices across our industry,” stated Robert E. Wankel, president of the Broadway Cares/Equity Fights AIDS Board of Trustees and chairman and CEO of The Shubert Organization. “Their expertise and unique perspectives will play a critical role in ensuring the continued success and future growth of Broadway Cares’ fundraising and grant-making. The Broadway Cares board is excited and proud to continually bring new, fresh voices to the table.”

Stepping off the board after years of distinguished service are Chris Boneau, Linda Duncombe, Adam Krauthamer, Stephen Lewin, Kate Shindle, and Charlotte St. Martin. The Board and staff also lovingly acknowledged the contributions of former trustees Chita Rivera and Gavin Creel, who both passed away in the last year.

#jonathan groff #bcefa #activism #board member #Broadway cares equity fights AIDS

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evolvingsidekick · 11 months ago

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BD - winners where are they now (incomplete)

I think someone requested this somewhere

Most females and recent males because there are just too many to do rn

At companies:

Miriam Gittens (s2013): Gibney Company

Alyssa Allen (s2014): Ballets Jazz Montreal

Brianne Sellars (s2014): Dallas Black Dance Theatre

Ashley Green (s2015): Alvin Ailey American dance Theater

Payton Johnson (j2012, t2015, s2017): L.A. Dance Project

Vivian Ruiz (s2019): Ballet BC

Kelis Robinson (t2018, s2020): The Batsheva Dance Company; The Juilliard School

Kiarra Waidelich (m2016, j2018, t2020): Royal Flux Company

Quinn Starner (t2017): New York City Ballet Corps de Ballet

Emma Sutherland (j2014, t2016): MashUp Contemporary Dance Co.

Sarah Pippin (t2011): Ballet BC

Timmy Blankenship (s2017): Sydney Dance Company; choreographer

Brady Farrar (m2014, j2017, t2021): ABT Junior Company

Easton Magliarditi (t2020): Royal Flux Company

Graham Feeny (t2015): Artistic associate at Gibney Company

Logan Hernandez (t2015): Göteborgs Operans Danskompani

Zenon Zubyk (t2013): Nederlands Dans Theater

Jonathan Wade (j2011, s2016): Rambert Dance Company

Wyeth Walker (s2017): Rubberband Dance Company

Faculty/teacher/choreography:

Lucy Vallely (t2015, s2018): Broadway Dance Center, freelance choreographer

Jayci Kalb ( j2011, t2014, s2016): The Dance Centre; Radio City Clara 2010

Taylor Sieve (s2016): Jump Dance Convention

Jenna Johnson (s2012): DWTS pro, 24 Seven Dance Convention

Jazzmin James (t2012, s2015): faculty several intensives

Jaycee Wilkins (j2015): Club Dance Studio

Sophia Lucia (j2014): Dancelab OC

Brynn Rumfallo (m2014): Strive Dance Workshop (own project)

Talia Seitel (m2012): Project 21 (part-time)

Lex Ishimoto (t2014, s2016): Jump Dance Convention

at University/college:

Ellie Wagner (s2019): Ohio State University Dance Team

Ella Horan (s2021): USC Kaufman

Kayla Mak (m2014, s2021): The Juilliard School; Radio City Clara 2014, 2015

Brianna Keingatti (s2022): The Juilliard School

Julia Lowe (s2023): USC Kaufman

Ava Wagner (j2018): University of Minnesota Dance Team

Avery Gay (m2015, j2017): University of Arizona School of Dance

Leara Stanley (m2011): Duke University

Sam Fine (s2023): USC Kaufman; Young Arts 2022

Seth Gibson: The Juilliard School

Alex Shulman (s2022): New York University Tisch Dance

Joziah German (m2014, t2018, s2020): The Juilliard School

Joey Gertin (t2018): The Juilliard School

Professional dancer/choreographer:

Simrin Player (t2014, s2017): The Voice, Missy Elliot, Justin Bieber, RBD

Jaxon Williard (s2021): Rihanna, Madonna, Lil Nas X

D'Angelo Castro (j2012, t2016, s2019): DWTS troupe

Findlay Mcconnell (t2017, s2019): Tate McRace

Christian Smith (s2018): Tate McRae, NBC's Saved by the Bell

Keanu Uchida (s2014): Dancer the Musical; also a big advocate for protecting dancers and calling out inappropriate behaviour

Eric Schloesser (s2014): Lady Gaga, Katy Perry, Dua Lipa, Billie Eilish, J Balvin; choreographer, creative director, designer; Dana Foglia Dance Company

Other/a combo of things:

Bianca Melchior (s2011): actor, dancer, singer; Nick Jonas, Alessia Cara, own music; faculty at On The Floor dance competition

Tate McRae (m2013, j2015, t2018): singer/songwriter

Bostyn Brown (j2016, t2019): Professional assistant at DanceOne

Megan Goldstein (t2017); dancer, photographer

Christina Ricucci (t2013): actor, musician, dancer

Bella Klassen (j2017): The Space, vlogger

Kalani Hilliker (j2013): influencer, teaching at several places (Danceplex, MBA)

Elliana Walmsley (m2018): influencer, DWTS Junior, Radio City Clara 2019

Diana Pombo (m2016): singer/songwriter, dancer, actor; Young Arts voice 2023+2024

Morgan Higgins (t2016, s2018): dancer, aerialist

Zelig Williams (s2013):dancer/actor: MJ the Musical, Hamilton

Daniel Gaymon (s2011): dancer/actor; Broadway (Cats, The Lion King); Hamilton national tour, La La Land

Ricky Ubeda (t2011, s2012): choreographer, actor; Steven Spielberg's West Side Story

Michael Hall (s2015): Saturday Night Fever the Musical, tv dancer in Cairo, Egypt; teacher

Julian Elia (t2014): Steven Spielberg's Westside Story, working on the development of a new Broadway musical

Sage Rosen (t2016): influencer; DWTS Junior

Ryan Maw (j2015, t2017): choreographer, dancer, actor: High School Musical: The Musical - The Series

Holden Maples (j2016, t2019): dancer, teacher, choreographer

Competing/not graduated honorable mentions:

Cameron Voorhees (m2018, j2021, t2023): Evolve Dance Complex; starting career as a teacher/choreographer

Crystal Huang (m2019, j2021, t2023): The Rock Center for Dance, Bayer Ballet Academy; Prix De Lausanne 2024, Young Arts 2024, Radio City Clara 2021

Hailey Bills (m2017, t2022): Center Stage Performing Arts Studio, DWTS Junior

Brightyn Brems (m2017): DWTS Junior

Avery Hall (t2022): Danceology; Young Arts 2023

Savannah Kristich (t2021): The Rock Center For Dance; Twyla Now

Savannah Manzel (m2020): Larkin Dance Studio, Radio City Clara 2023

Kya Massimino (m2021): Radio City Clara 2023

Ian Stegeman (m2019, j2021, t2023): Woodbury Dance Center, Young Arts 2024

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invisibleicewands · 8 months ago

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We, the undersigned, come together as creatives and artists, recognising the immense power held within each voice, especially those often underrepresented in our society.

Art and creativity shapes and reflects the diverse experiences of our communities. It’s vital that politics does too, and that everyone’s voice is heard in our democracy.

But in Britain today, as many as 8 million people are not registered to vote at their current address. Turnout of younger voters has been falling considerably. New rules requiring photo ID risk excluding hundreds of thousands of citizens, and disproportionately affecting poorer people, those with disabilities and people from minority ethnic backgrounds.

We, the undersigned, stand united in our belief that participation in elections is not just a right, but a profound responsibility—one that should extend to everyone, at the heart of a vibrant democracy.

That is why we urge you to join us in registering to vote for the upcoming local elections before the deadline of 23:59 on Tuesday 16 April, at https://qrco.de/giveanx. Remember, you are also eligible to register if you are a qualifying EU or Commonwealth citizen.

We join hands with the young people leading the Give an X campaign in emphasising the importance of young people shaping the future, and we urge each and every citizen to claim their seat at the table.

Voting is not just casting a ballot; it is narrating the stories of our communities and painting a vision of a better tomorrow. In the face of huge challenges nationally and globally, that has never been more important.

Let’s all of us write the next chapter together. We Give an X – will you?

Signed,

Michael Sheen - Actor

Paapa Essiedu - Actor

Meera Syal CBE - Actor and writer

Armando Iannucci - OBE Writer, director, producer and performer

Amelia Dimoldenberg - Comedian and presenter

Billy Bragg - Singer and songwriter

Samuel West - Actor and director

Sharon Gaffka - TV personality

Es Devlin CBE - Artist and designer

Ahir Shah - Comedian

Ralf Little - Actor and writer

Sir Stephen Frears - Director

Misan Harriman - Photographer and Chair of the Southbank Centre

Mei Mac - Actor

Sally Lindsay - Actor

Siobhán McSweeney - Actor and presenter

Sir Alistair Spalding CBE - Artistic Director, Sadler's Wells

Alice Aedy - CEO, Earthrise

David Lan CBE - Writer, producer and director

Georgia Harrison - TV personality

Timothy Sheader - Artistic Director, Donmar Warehouse

Henny Finch - Executive Director, Donmar Warehouse

Paule Constable - Lighting designer and Associate Director of the National Theatre

Daniel Lismore - Sculptor and designer

Luke McQueen - Comedian

Elliot Levey - Actor

Joseph Henry - Architect

Charlie Condou - Actor

Seeta Indani - Dancer and actor

Ania Magliano - Comedian

John O'Farrell - Author and scriptwriter

Emily Berrington - Actor

Rebecca Hendin - Illustrator

Jack Guinness - Writer and founder of The Queer Bible

Michael French - Head of Games London

Joseph Zeal-Henry - Director, Sound Advice

Sacha Lord - Co-founder of The Warehouse Project & Parklife festival Sam Evans - Musical Director

Estelle van Warmelo - Director

Bernard Donoghue OBE - CEO, Association of Leading Visitor Attractions

Stephen Skeet - Director of Impact, Volunteering Matters

Kayleigh Wainwright - Director of Youth Sector Innovation, UK Youth

Joe Bailey - CEO, Brighten the Corners/Out Loud Music

Jack Gamble - Director, Campaign for the Arts

Mete Coban MBE - CEO, My Life My Say

Lauren Kay-Lambert - Co Managing Director, Shape History

Sami Gichki - Co-Chair of the #iWill Movement

#Michael Sheen #Give an X

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docgold13 · 6 months ago

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Heroes & Villains The DC Animated Universe - Paper Cut-Out Portraits and Profiles

Agent Bennet

James Bennet, Sr. was a dedicated and relentless agent of the National Security Association. He was assigned to track down and destroy the rogue android known as Zeta. This Zeta had previously been an asset of the NSA yet the android developed sentience and refused orders to assassinate a target the android believed to be innocent.

Zeta’s refusal to obey orders left Bennet convinced the android had fallen into the hands of a terrorist cell and been reprogrammed. Seeing Zeta as a clear and present danger to national interests, Bennet would stop at nothing to hunt down and terminate Zeta.

In the course of his pursuit, Bennet discovered that a young woman named Ro Rowan was assisting Zeta. Convinced that Ro was also a terrorist, Bennet ordered her apprehended with extreme prejudice. Throughout Zeta and Ro’s many adventures, Bennet remained just a few steps behind and they were constantly narrowing escaping capture by the ruthless agent.

Eventually, Agent Bennet came to discover that Zeta had not indeed been reprogramed; rather his refusal to obey orders had been the result of his cultivating a sense of consciousness. The evidence of this was destroyed in an explosion and Bennet remained the sole individual who could exonerate Zeta and halt the search and destroy order on the android and his accomplice. What Bennet ultimately chose to do with this knowledge remains to be told.

Actor Kirkwood Smith provided the voice for Agent Bennet with the persistent pursuer first appearing in the series premiere of The Zeta Project.

#Zeta Project #Zeta #Agent Bennet #DCAU #Kirkwood Smith #cut-out #paper art

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mostlysignssomeportents · 2 years ago

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How Facebook's Real Names policy helps Cambodia's thin-skinned dictator terrorize dissenters

A common refrain from Facebook apologists and anti-anonymity activists is that its “Real Names Policy” promoted “civility” by making users “accountable” for their words. In this conception, snuffing out anonymous speech is key to protecting “the vulnerable” from trolls and other bad actors.

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

https://pluralistic.net/2023/01/24/nationalize-moderna/#hun-sen

But while some trolls hide behind anonymity, others are only too happy to sign their vitriol. Donald Trump didn’t need an anonymous account. Tucker Carlson is right there in the chyron. Nick Fuentes isn’t hiding behind a pseudonym — he’s proud to be associated with Holocaust denial.

Despite the moral panic about “cancel culture,” the powerful can say outrageous and disgusting things without any meaningful consequence. But when it comes to speaking truth to power, anonymity protects the vulnerable from retaliation.

Nowhere will you find a better case-study of this phenomenon than in Cambodia, a basket-case, one-party dictatorship that has been ruled over by the corrupt, authoritarian dictator Hun Sen, a former general, since 1985.

Hun Sen’s corruption and authoritarianism chafed at the Cambodian people, but his repressive statecraft allowed him to keep a tight grip on the reins of power. But all that nearly came to a halt in 2013, when an opposition movement, organized on Facebook, came within a whisker of defeating him during what should have been a sham election.

Other dictators would have used that moment to block Facebook, but not Hun Sen. After squeaking out a narrow victory, he decided to take control of Facebook in Cambodia and co-opt it as a tool of oppression. To do this, Hun Sen would weaponize the Real Names policy.

Because he was dictator, Hun Sen already knew the real names of every person in Cambodia, which meant that he could tell when a Cambodian poster used a pseudonym. Armed with this knowledge, Hun Sen forced Facebook to order Cambodians to post under their real names (which made them liable to arrest and torture) or fall silent.

https://www.buzzfeednews.com/article/meghara/facebook-cambodia-democracy#.km2QBoKME

Hun Sen then spent public funds to hire a bleating army of astroturf supporters from Filipino clickfarms who would “like” his posts and shout down Cambodians — especially exiled Cambodians speaking from abroad — who dared to criticize him:

https://qz.com/1203637/facebook-likes-are-a-powerful-tool-for-authoritarian-rulers-lawsuit-says

All of this created cover for the “Khmer Riche”: politically connected insiders and Hun Sen’s relatives, who looted the country, hired Pricewaterhousecooper to help them offshore their money through Cypriot banks, and procured glden passports from Cyprus to let them trip through the EU on luxury spending-sprees:

https://www.reuters.com/investigates/special-report/cambodia-hunsen-wealth/

Earlier this month, Hun Sen took an “official visit” to the Maldives, which was commemorated by an official Facebook post that included a gallery of Hun Sen relaxing in a seaside luxury resort:

https://www.facebook.com/hunsencambodia/posts/pfbid02KYoqDAJbeMGyRP9xMYpntYEdKsczGQijRGYJiDDiPSV4u5DDxmwXuCjpRrse8AEtl

As Mech Dara1 wrote for Vod, the post racked up thousands of “fawning comments,” along with a single, brave remark from “Ver To” (a pseudonymous account): “Yes, our beaches are the most beautiful, but our leaders are the dirtiest in the world, aren’t they?”

https://vodenglish.news/hun-sen-orders-police-to-find-facebook-beach-insulter/

Within hours, Hun Sen had vowed to use Facebook to hunt down and punish the person behind “Ver To,” writing “This is a wicked man’s words. Please, police, find it immediately. Where is it?”

In an expanded version of Daral’s article on Global Voices, we see Hun Sen’s Interior Ministry swing into action to punish this mild act of dissent, with ministry spokesman Khieu Sopheak saying:

> This is not freedom of expression — this is insulting the leader of the country. … Even for me, we cannot accept this.

> People who live abroad can say anything, but in Cambodia they cannot.

> Even though the prison is crowded, there is enough space to hold these people.

Hun Sen knows that Facebook will help him hunt down this dissenter and jail them in one of his “crowded prisoners,” because Facebook’s Real Names policy dictates that this will happen.

The Real Names policy might as well be called “The Zuckerberg Doctrine.” It originates with Mark Zuckerberg’s oft-stated belief that people who present a different facet of their personality to different people are “two-faced.” This is an abysmal, idiotic belief, one that requires that we related to our bosses the same way we relate to our lovers, and also to our grandparents. But on the plus side, outlawing anonymity and pseudonymity makes it a lot easier to assemble nonconsensual surveillance dossiers on our activities, social graph and beliefs, and then sell access to those dossiers to advertisers:

https://memex.craphound.com/2018/01/22/social-scientists-have-warned-zuck-all-along-that-the-facebook-theory-of-interaction-would-make-people-angry-and-miserable/

Lots of companies have tried for their own Real Names policy. Famously, it was a feature of Google Plus, Alphabet’s failed Facebook competitor. More recently, Twitter’s new owner has made moves to link Twitter accounts to identities by hiding posts that aren’t from “Twitter Blue” accounts, and then insisting that these accounts must be verified with a phone number.

The powerful can abuse the powerless and get away with it, in large part because the powerless can’t speak back without risking retaliation. Sexual abuse was a feature of many industries and large companies for decades, but it too anonymity to create the #MeToo movement. There, anonymity is a force for accountability — not a way to avoid it.

Image: Hun Sen/Facebook (modified) https://www.facebook.com/photo.php?fbid=765259764955813&set=pcb.765259798289143&type=3&theater

Fair use: https://www.eff.org/issues/intellectual-property

[Image ID: Cambodian dictator Hun Sen's Facebook photo of himself swimming in the blue Maldives sea. Superimposed over him in white sans-serif lettering on red rectangular backgrounds is a quote from a Cambodian Facebook user: 'Yes, our beaches are the most beautiful, but our leaders are the dirtiest in the world, aren’t they?']

#pluralistic #streisand effect #cambodia #nym wars #real names policy #dictators #public-private partnerships #hun sen #facebook #meta

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graphicpolicy · 1 year ago

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SDCC 2023: SAG/AFTRA National Executive Director is joining the AI in Entertainment: The Performer's Perspective panel

SDCC 2023: SAG/AFTRA National Executive Director is joining the AI in Entertainment: The Performer's Perspective panel #SDCC #SDCC2023 #SDCC23

Duncan Crabtree-Ireland, SAG/AFTRA National Executive Director and Chief Negotiator, will be joining the AI in Entertainment: The Performers’ Perspective panel at San Diego Comic-Con. AI and machine learning are revolutionizing the world. Entertainment performers must adapt to this groundbreaking technology that can not only replicate their voices and movements but also feed machine learning to…

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#national association of voice actors #sag aftra #san diego comic-con #sdcc

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nethervoice · 2 years ago

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THE COURAGE TO BE UNPOPULAR

You may know that I’ve created a bit of a sh*tstorm in voiceoverland last week, by calling out Carin Gilfry, the VP of the National Association of Voice Actors (NAVA), for something she said about Fiverr at a panel during VO Atlanta. After my video, Carin clarified that she had not been speaking on behalf of NAVA, and that she thinks Fiverr is “problematic in many ways.” As the storm was raging,…

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#Carin Gilfry #Fiverr #National Association of Voice Actors #NAVA #Nethervoice #Paul Strikwerda #reputation #speaking out #VO Atlanta #voice acting #voice actors #voice over community #voice-over #voiceover #voiceovers #voices dot com

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hatboyproject · 2 years ago

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The Hatboy Project: Delicious Sticky Poast

F O L L O W A N D S U P P O R T

YouTube Channel // Nexus Mods // Ko-Fi

C O M M O N T A G S

#hatboyproject LE daily // iterative progress #shoker // #jeff joker moreau // fandom specific #mass effect mods // #mass effect modding #private terminal mail // asks #for long and boring technical reasons // tech breakdowns (sometimes not just the tech)

R E S O U R C E S

Mass Effect Modding Discord // Lip-Sync for Mass Effect Games

M E N T I O N S I N M E D I A

Polygon // PCGamer // TechTimes

C L I C K F O R F A Q A N D M O R E

But, yes, it's for both Male and Female Shepard, now.

S T A N C E O N V O I C E S Y N T H S

Breakdown of The Issues at Play (Video) * After having spoken to NAVA (National Association of Voice Actors) there will be an update, this post will be updated when it is available. This video is a useful introduction to how the issue relates to non-commercial fanworks and the understanding of the wider issue.

F E M A L E S H E P A R D O N L Y ?

Hatboy Project: LE will be available for both Male and Female Shepard. Only the beta version, for the original Mass Effect 3, is Female Shepard only.

C A N I P L A Y O N C O N S O L E ?

Sorry, the console versions can't be modded. That is not something within my control. PC only.

D O E S I T C O S T M O N E Y?

You must own a legitimate copy of Mass Effect 3 (2012) to use the beta version which is out right now. You must own a legitimate copy of Mass Effect: Legendary Edition in order to use my upcoming mod. My mod will never be pay-gated, and everyone will receive the same version of the work at the same time once it's released. You can support my creative endeavours via the link above to my Ko-Fi, but it isn't necessary.

W H O M S T ?

#hatboyproject LE daily #hatboyproject pinned post #shoker #jeff joker moreau #mass effect mods #mass effect modding

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whileiamdying · 3 months ago

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James Earl Jones, Whose Powerful Acting Resonated Onstage and Onscreen, Dies at 93

He gave life to characters like Darth Vader in “Star Wars” and Mufasa in “The Lion King,” and went on to collect Tonys, Golden Globes, Emmys and an honorary Oscar.

James Earl Jones in 1980. He climbed to Broadway and Hollywood stardom with talent, drive and remarkable vocal cords.Credit...M. Reichenthal/Associated Press

Published Sept. 9, 2024 Updated Sept. 10, 2024, 1:30 a.m. ET

James Earl Jones, a stuttering farm child who became a voice of rolling thunder as one of America’s most versatile actors in a stage, film and television career that plumbed race relations, Shakespeare’s rhapsodic tragedies and the faceless menace of Darth Vader, died on Monday at his home in Dutchess County, N.Y. He was 93.

The office of his agent, Barry McPherson, confirmed the death in a statement.

From destitute days working in a diner and living in a $19-a-month cold-water flat, Mr. Jones climbed to Broadway and Hollywood stardom with talent, drive and remarkable vocal cords. He was abandoned as a child by his parents, raised by a racist grandmother and mute for years in his stutterer’s shame, but he learned to speak again with a herculean will. All had much to do with his success.

So did plays by Howard Sackler and August Wilson that let a young actor explore racial hatred in the national experience; television soap operas that boldly cast a Black man as a doctor in the 1960s; and a decision by George Lucas, the creator of “Star Wars,” to put an anonymous, rumbling African American voice behind the grotesque mask of the galactic villain Vader.

Mr. Jones in 1979 as the author Alex Haley on “Roots: The Next Generation.” Credit...Warner Brothers Television, via Everett Collection

The rest was accomplished by Mr. Jones himself: a prodigious body of work that encompassed scores of plays, nearly 90 television network dramas and episodic series, and some 120 movies. They included his voice work, much of it uncredited, in the original “Star Wars” trilogy, in the credited voice-over of Mufasa in “The Lion King,” Disney’s 1994 animated musical film, and in his reprise of the role in Jon Favreau’s computer-animated remake in 2019.

Mr. Jones was no matinee idol, like Cary Grant or Denzel Washington. But his bulky Everyman suited many characters, and his range of forcefulness and subtlety was often compared to Morgan Freeman’s. Nor was he a singer; yet his voice, though not nearly as powerful, was sometimes likened to that of the great Paul Robeson. Mr. Jones collected Tonys, Golden Globes, Emmys, Kennedy Center honors and an honorary Academy Award.

Under the artistic and competitive demands of daily stage work and heavy commitments to television and Hollywood — pressures that burn out many actors — Mr. Jones was a rock. He once appeared in 18 plays in 30 months. He often made a half-dozen films a year, in addition to his television work. And he did it for a half-century, giving thousands of performances that captivated audiences, moviegoers and critics.

They were dazzled by his presence. A bear of a man — 6 feet 2 inches and 200 pounds — he dominated a stage with his barrel chest, large head and emotional fires, tromping across the boards and spitting his lines into the front rows. And audiences were mesmerized by the voice. It was Lear’s roaring crash into madness, Othello’s sweet balm for Desdemona, Oberon’s last rapture for Titania, the queen of the fairies on a midsummer night.

Mr. Jones as Othello in the Broadway revival of the play in New York in 1981. Credit...Martha Swope/The New York Public Library

He liked to portray kings and generals, garbage men and bricklayers; perform Shakespeare in Central Park and the works of August Wilson and Athol Fugard on Broadway. He could strut and court lecherously, erupt with rage or melt tenderly; play the blustering Big Daddy in Tennessee Williams’s “Cat on a Hot Tin Roof” (2008) or an aging Norman Thayer Jr. in Ernest Thompson’s confrontation with mortality, “On Golden Pond” (2005).

Some theatergoers, aware of Mr. Jones’s childhood affliction, discerned occasional subtle hesitations in his delivery of lines. The pauses were deliberate, he said, a technique of self-restraint learned by stutterers to control involuntary repetitions. Far from detracting from his lucidity, the pauses usually added force to an emotional moment.

Mr. Jones profited from a deep analysis of meaning in his lines. “Because of my muteness,” he said in “Voices and Silences,” a 1993 memoir written with Penelope Niven, “I approached language in a different way from most actors. I came at language standing on my head, turning words inside out in search of meaning, making a mess of it sometimes, but seeing truth from a very different viewpoint.”

Mr. Jones playing the fictional former U.S. President Arthur Hockstader in Gore Vidal’s “The Best Man” on Broadway in 2012. Credit...Todd Heisler/The New York Times

Another of his theatrical techniques was to stand alone for a few minutes in a darkened wing before the curtain went up, settling himself and silently evoking the emotion he needed for the first scene. It became a nightly ritual during performances of Mr. Wilson’s Pulitzer Prize-winning drama “Fences” (1987), in which Mr. Jones portrayed a sanitation worker brooding over broken dreams, his once promising baseball career cut short by big league racial barriers. It ran for 15 months on Broadway, and Mr. Jones won a Tony for best actor.

Voice of Vader

Mr. Jones’s technique in the first “Star Wars” trilogy — “A New Hope” (1977), “The Empire Strikes Back” (1980) and “Return of the Jedi” (1983) — was another trademark. To sustain Vader’s menace — a voice to go with his black cape and a helmet that filtered his hissing breath and evil tidings — Mr. Jones spoke in a narrowly inflected range, almost a monotone, to make nearly every phrase sound threatening. (He was credited for voice work in the third film, but, at his request, he was not credited in the first two until a special edition rerelease in 1997.)

Mr. Jones was one of the first Black actors to appear regularly on the daytime soaps, playing a doctor in “The Guiding Light” and in “As the World Turns” in the 1960s. Television became a staple of his career. He appeared in the dramatic series “The Defenders,” “Dr. Kildare,” “Touched by an Angel” and “Homicide: Life on the Street,” and in mini-series, including “Roots: The Next Generation” (1979), playing the author Alex Haley.

Mr. Jones and Diana Sands in the 1960s in the dramatic television series “East Side, West Side.” His prodigious body of work included nearly 90 television network dramas and episodic series. Credit...Everett Collection

Mr. Jones’s first Hollywood role was small but memorable, as the B-52 bombardier in Stanley Kubrick’s 1964 satire on nuclear war, “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.”

While drama critics recorded his steady progress as an actor, Mr. Jones did not win film stardom until 1970, when he played Jack Jefferson, a character based on Jack Johnson, the first Black boxing champion, in “The Great White Hope,” reprising a role he performed on Broadway in 1968. He won a Tony for the stage work and was nominated for an Oscar for the movie.

Mr. Jones as Jack Jefferson in “The Great White Hope.” He won a Tony for his stage work in the role and was nominated for an Oscar for the movie version. Credit...George Tames/The New York Times

Although he was never active in the civil rights movement, Mr. Jones said early in his career that he admired Malcolm X and that he, too, might have been a revolutionary had he not become an actor.

He said his contributions to civil rights lay in roles that dealt with racial issues — and there were many. Notable among these was his almost overlooked casting in the 1961 play “The Blacks,” Jean Genet’s violent drama on race relations. It featured a cast that included Maya Angelou, Cicely Tyson, Louis Gossett Jr. and Billy Dee Williams, some wearing gruesome white masks, who night after night enacted in a kangaroo court the rape and murder of a white woman. Mr. Jones, the brutal and beguiling protagonist, found the role so emotionally draining that he left and then rejoined the cast several times in its three-and-a-half-year run Off Broadway.

But the experience helped clarify his feelings about race. “Through that role,” he told The Washington Post in 1967, “I came to realize that the Black man in America is the tragic hero, the Oedipus, the Hamlet, the Macbeth, even the working-class Willy Loman, the Uncle Tom and Uncle Vanya of contemporary American life.”

James Earl Jones was born in Arkabutla, Miss., on Jan. 17, 1931, to Robert Earl and Ruth (Connolly) Jones. About the time of his birth, his father left the family to chase prizefighting and acting dreams. His mother eventually obtained a divorce. But when James was 5 or 6, his frequently absent mother remarried, moved away and left him to be raised by her parents, John and Maggie Connolly, on a farm near Dublin, Mich.

Abandonment by his parents left the boy with raw wounds and psychic scars. He referred to his mother as Ruth — he said he thought of her as an aunt — and he called his grandparents Papa and Mama, although even the refuge of his surrogate home with them was a troubled place to grow up.

“I was raised by a very racist grandmother, who was part Cherokee, part Choctaw and Black,” Mr. Jones told the BBC in a 2011 interview. “She was the most racist person, bigoted person I have ever known.” She blamed all white people for slavery, and Native American and Black people “for allowing it to happen,” he said, and her ranting compounded his emotional turmoil.

Years of Silence

Traumatized, James began to stammer. By age 8 he was stuttering so badly, and was so mortified by his affliction, that he stopped talking altogether, terrified that only gibberish would come out. In the one-room rural school he attended in Manistee County, Mich., he communicated by writing notes. Friendless, lonely, self-conscious and depressed, he endured years of silence and isolation.

“No matter how old the character I play,” Mr. Jones told Newsweek in 1968, “even if I’m playing Lear, those deep childhood memories, those furies, will come out. I understand this.”

Mr. Jones playing a South African priest in “Cry, the Beloved Country” (1995). Credit...Miramax, via Alamy

In high school in nearby Brethren, an English teacher, Donald Crouch, began to help him. He found that James had a talent for poetry and encouraged him to write, and tentatively to stand before the class and read his lines. Gaining confidence, James recited a poem a day in class. The speech impediment subsided. He joined a debating team and entered oratorical contests. By graduation, in 1949, he had largely overcome his disability, although the effects lingered and never quite went away.

Years later, Mr. Jones came to believe that learning to control his stutter had led to his career as an actor.

“Just discovering the joy of communicating set it up for me, I think,” he told The New York Times in 1974. “In a very personal way, once I found out I could communicate verbally again, it became a very important thing for me, like making up for lost time, making up for the years that I didn’t speak.”

Mr. Jones as Big Daddy in a 2008 Broadway revival of Tennessee Williams’s “Cat on a Hot Tin Roof.” With him was Terrence Howard. Credit...Sara Krulwich/The New York Times

Mr. Jones enrolled at the University of Michigan on a scholarship, taking pre-med courses, and joined a drama group. With a growing interest in acting, he switched majors and focused on drama in the university’s School of Music, Theater and Dance. In a memoir, he said he left college in 1953 without a degree but resumed studies later to finish his required course work. He received a degree in drama in 1955.

In college, he had also joined the Army under an R.O.T.C. commitment, then washed out of infantry Ranger School. But he did so well in cold-weather training in the Rockies that he considered a military career. He was commissioned a second lieutenant in mid-1953, after the end of the Korean War, and was subsequently promoted to first lieutenant.

In 1955, however, he resigned his commission and moved to New York, determined to be an actor. He lived briefly with his father, whom he had met a few years earlier. Robert Jones had a modest acting career and offered encouragement. James found cheap rooms on the Lower East Side of Manhattan, took odd jobs and studied at the American Theater Wing and Lee Strasberg’s Actors Studio.

A Run of Shakespeare

After minor roles in small productions, including three plays in which he performed with his father, he joined Joseph Papp’s New York Shakespeare Festival in 1960; over several years he appeared in “Henry V,” “Romeo and Juliet,” “Richard III” and “A Midsummer Night’s Dream.” During a long run as Othello in 1964, he fell in love with Julienne Marie, his Desdemona.

They were married in 1968, but they divorced in 1972. In 1982, he married the actress Cecilia Hart, who had also played Desdemona to one of his Othellos. She died in 2016. They had a son, Flynn Earl Jones, who survives him, along with a brother, Matthew.

In the 1970s and most of the ’80s, Mr. Jones was in constant demand for stage work in New York, films in Hollywood and television roles on both coasts. He took occasional breaks at a desert retreat near Los Angeles and at his home in Pawling, N.Y., in Dutchess County.

Mr. Jones in 2017 when he accepted a special Tony Award for lifetime achievement. Credit...Sara Krulwich/The New York Times

But his long run with “Fences” in 1987 and 1988, including a national tour, proved too taxing. He did not return to Broadway for many years, and made movies almost exclusively. His notable film roles included an oppressed coal miner in John Sayles’s “Matewan” (1987); the king of a fictional African nation in the John Landis comedy “Coming to America” (1988), a role he reprised at 90 in 2021 in “Coming 2 America”; an embittered but resilient writer in the baseball movie “Field of Dreams” (1989); and a South African priest in “Cry, the Beloved Country” (1995).

Mr. Jones received the National Medal of the Arts from President George Bush at the White House in 1992, Kennedy Center honors in 2002, an honorary Oscar in 2011 for lifetime achievement, and in 2017 a special Tony Award for lifetime achievement, as well as an honorary doctor of arts degree from Harvard University.

In 2015, Mr. Jones and Cicely Tyson appeared in a Broadway revival of D.L. Coburn’s 1976 play, “The Gin Game,” portraying residents of a retirement home making nice, and sometimes not so nice, over a card table. For the 84-year-old Mr. Jones, it was, as The Times noted, his sixth Broadway role in the past decade.

In 2022, Broadway’s 110-year-old Cort Theater was renamed the James Earl Jones Theater.

#James Earl Jones #The New York Times #Maya Angelou #Cicely Tyson #Louis Gossett Jr.#Billy Dee Williams #Tonys #Golden Globes #Emmys #Oscar #Jon Favreau #Broadway #George Lucas #Star Wars #Kennedy Center Honors #Honorary Academy Award #Harvard University

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