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robotnuts · 4 years ago

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Alpha is very Burnt Out Church. Like... Constantly burnt out. Its been pointed out by the others, under plenty circumstances, that Epsilon does not act like Church / Alpha did. He was either more whipped, or he blew up more spectacularly. Alpha is more Objective, Epsilon is more Personal. Alpha took things, no matter how ridiculous, at face value. While Epsilon is more prone to reason his way out. Alpha was more willing to let Tex do her own thing... Epsilon was not.

you have the incredible power to say exactly what ive been thinking about for days. here’s my fix

warning: im about to speak with authority even though i function by throwing spaghetti at the wall. if anything about this is wrong or egregiously off please tell me so i can eat the proper crow

epsilon had to have sacrificed himself for tex so she could escape the memory unit, and have the chance to become her own person completely outside of church in order to complete his predetermined arc.

(i love epsilon, love him and carolina, and in an rvb rewrite i would not be able to bring myself to do this and i come up with an alternate ending- this is just in the terms of, what the director laid out as his character arc, and how rvb TRIED to do progressive iterations of the director’s story, and then massively dropped the ball with the ending)

You see, I never had the chance to serve in battle, nor did fate provide me the opportunity to sacrifice myself for humanity as it did for so many others in the Great War. Someone extremely dear to me was lost very early in my life. My mind has always plagued me with the question, if the choice had been placed in my hands, could I have saved her? The memory of her has haunted me my entire life, and moreso in these last few years than I could ever have imagined. But given the events of these past few weeks, I feel confident that had I been given the chance, I would have made those sacrifices myself. Had I only the chance.

and no version of himself ever did make the sacrifice to save her. the director doesn’t really deserve the term sacrifice applied to him, but he did sacrifice everyone around him. he sacrificed his daughter, his military organization, countless lives, literally everything, in order to chase after allison. this is obviously the darkest, worst version.

alpha did sacrifice himself for tex- it’s more explicit in the deleted scene where wash convinces him to go by bringing up tex specifically and finding out about her, *which i can’t find a link to but if anyone has it please send it to me.) but he didn’t save her. they died together, which is tragic and as you said, they never figured out the truth. but in a way, they didn’t need to. alphabeta is a much stronger relationship than epsichex because they like, know each other as their own people and church doesn’t know who allison was. it is tragic they neveer learned who they were, but it makes sense for the second iteration.

and then epsilon.... regresses. he sacrifices HER. yes it is him giving up on chasing the memory like the director did, but the director’s biggest crime isn’t just refusing to give up on a memory, it’s what it did to tex. how it stripped her of all agency and made her fucking miserable. this is so explicit in epsitex’s actions. she resents being made, but if she’s gonna exist, she’s going to do it on her own terms. beta came along for the ride, she made herself. epsitex didn’t.

and then epsilon makes her last words to him “i love you” and kills her.

(also... epsitex is made from epsilon’s memories of tex. the fact that epsitex always fails is just as much his fault for not seeing her as anything else as it is the director’s.)

there are only two ways to complete epsilon’s character arc well, because no matter what he needs to let tex LEAVE. not die, just exist as a person outside of him. you can interpret i forget you as that, but it isn’t her fucking choice to stop existing. just because she didnt ask to be made doesn’t mean he should have the power to execute her. she needs to be allowed to exist without him, figure out who she is. and, if you wanted to wrap up the narrative of church becoming a better person through iterations, him actually finally making the sacrifice and SAVING tex would be the final permutation.

i used to think this was the best option but through writing this post, i think epsilon saying fuck you to the director spiritually by refusing to give him the heroic sacrifice he always wanted is the best, most satisfying option. and them being strong enough to leave the memory unit together (which would have to be established as impossible) would be a nice parallel with beta being strong enough to make her own person. and it would make the end of s10 hit so much harder, because epsilon didn’t just do better than him, but completely subverted what the director wanted for him.

outside of killing tex, i think epsilon is a super good character and exploring his relationship differences with the bgc vs alpha is something i’m super interested in (and something that @leonardalphachurch has done great meta on). not to mention, single mindedly focusing on tex instead of everyone else is another one of the director’s flaws that epsilon can overcome! he needed to put some serious work into his friendships that we never got from s12 or 13, sadly. and him self isolating with carolina can be an accidental repeat of the singlemindednesss cycle because he wasn’t focused on tex, and him realizing he cares about tucker and caboose and needs to show it better and stop pretending that him not showing emotional vulnerability makes him more like alpha and could be like a character moment or something.

and then tex can go explore the universe off screen for 3 seasons before coming back to chorus in s13 on her own to kick some ass. also the flashback montage episode of her hijinks and exploits that we missed like s15e6, please god give it to me.

#rvb #journal entry #files #oh my god don't look at my original takes im so much better at regurgitating other people's #this is so scary #along with rose's takes i also used epsilontuckers to cobble this together #iim not smart #DOING META MAKES ME SO PRETENTIOUS IIM SORRY #the-mercurial-star-o-vesper #long post #asks #ALSO ALL THE CHURCHES SHOULD HAVE BEEN WOMEN AND CHEX SHOULD HAVE BEEN LESBIANS.

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inkdemonapologist · 4 years ago

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What's going on with Wally Franks in your AU? I had trouble following the game, and the wiki seems to say that he quit the studio and retired without ever learning its darkest secrets, but I think you have him as one of the escapees (turned into a Boris?)

Okay I have a lot of rambling thoughts about the ending of the game if youre curious but I'll stick those at the end. As far as Escape AU goes:

Yes, Wally was a Boris clone! He did not fully get outta there; he's the murdered Boris at the very beginning of the game. Dying doesn't really seem to stick for ink creatures in the Studio, so he was able to come back -- but since he spent most of his time in the Studio [glados voice] really busy being dead, he doesn't have the years of trying to survive an inky hell that the others have; he just has that one really bad time where he was turned into a cartoon and murdered, and some weird and probably equally upsetting memories of briefly waking up from death. He never wandered the studio and was never sent to the puddles, so he has some real bad nightmares/insomnia now but is otherwise doing okay in his day-to-day life, and has no trouble speaking. He's probably able to hold down a job before too long!

Mostly Wally is there because I wanted Wally to be there, and I haven't fully sorted out the LORE for him in Escape AU (I don’t know if he never left or if he got lured back), but if you're interested in trying to sort out some of the canon associated:

So basically what I've gathered as someone who is obsessed with bendy and has watched all the cutscenes and all that but hasn't actually played the game and was real late to the fandom, TAKE WITH A GRAIN OF SALT:

- The game leaves things a bit ambiguous

- There were, in the original game, a lot of hints that the Boris you befriend in the Studio is Wally. (He’s sorta handy, kinda cowardly, likes food -- and we get an audiolog dedicated specifically to letting us know that Wally will straight up steal your cake off your desk; they’d be a good match!) There's several reasons it makes a kind of narrative sense and it was the prevailing theory before DCTL came out, but it was never confirmed one way or another.

- Two smaller things I’ve seen connecting Wally to Boris: the wrench you pull out of a Boris' chest, and the "Who's Laughing Now" written on the wall beside him being a really neat hint once you get to the audiolog where Wally complains that everyone is acting too serious for a cartoon studio and should crack a smile now and again. (this is most of why I went for the dead Boris as Wally)

- in Dreams Come To Life, Buddy is (spoilers) transformed into a Boris at the end, and it's commented on how perfect he is, implying he may be the "perfect Boris" you befriend in the game. The Boris in Boris and the Dark Survival is referred to outside the game as "Buddy Boris" and, since he has a safehouse, there's an implication that BatDS bridges the gap between DCTL and BatIM. The fact that Henry keeps affectionately referring to Boris as "buddy" becomes a fun retroactive “coincidence,” but also all the various implications that Wally sure would have made a good Boris now go nowhere. It ended up feeling like a retcon.

- in the end of the game you can see letters to Joey from Allison and Wally, implying they (and Tom) are alive and well and continued their lives after the Studio shut down, which is interesting since, uh, Allison and Tom are also now toons???

- there's a popular interpretation (called the Story Theory I think?) which I encountered in Adobe-Outdesign's analysis, that what this apparent contradiction means is that the "sketch dimension" (the cartoony world where most of the game takes place) is actually a story created by Joey using the Ink Machine, populated with alternate/fictional versions of the employees of the studio. So the Real Allison left, but in this story Joey’s writing, she didn’t. Henry-the-protagonist might not be the real Henry Stein; instead he's just one of Joey's characters, based on his IRL friend. Etcetera! So in real life, Wally retired, as his letter indicates. But those fictional versions are still real people, real consciouses, because the real ink machine that Joey really has hidden in his apartment is bringing Joey's story to life. I like the interpretation a lot as a take that fits the game well but also I have no idea where DCTL fits in this. IS DCTL PART OF JOEY'S STORY OR DID ALL OF THAT REALLY HAPPEN IN REAL LIFE??? IF THERE'S A LOOP IN DCTL (as slightly implied by Dot) ITS A STORY RIGHT??? WHAT IS HAPPENING IN THIS FRANCHISE

- the alternative interpretation to this is that somehow Allison and Tom (at least, if not others) got lured back to the Studio after she sent her letter -- after all, she's still keeping in touch. I tend to assume this is what’s going on in most fanfiction and AUs that have any possibility of escape, since you’d presumably want the employees to actually be themselves rather than Joey Drew's Weird Friendfiction brought to life. The impression I've gotten in this version is that sending them to the Bendy Dimension gives Joey control over the script there, so instead of creating people for his fictional retelling, he's forced his actual employees to play out this story, but I don't know that I've seen this fully spelled out

SO THATS, UH, SOME OF THE RELEVANT BACKGROUND INFO I THINK

Before running into the much more coherent Story Theory, my own attempts to make sense of the ending went in the exact opposite direction; that rather than Joey's apartment being a brief step out of the Story and into the Real World, that Joey's apartment is something of a dream, where Henry and Joey, of course, imagine the world that they know, even if they're not actually in it anymore.

I also REALLY liked the theories linking Joey to Bendy -- Bendy may have been created without a soul, but that doesn't mean one can't get, y'know, shoved in there... or that maybe a soul could be possibly stolen and absorbed by a creature who lacks one........ yknow..... it could happen. I like the idea that Ink Bendy's shifts in behaviour towards Henry reflect Joey's conflicted feelings towards his old friend (which is still there in the Story Theory version, it's just symbolic instead of literal).

So you defeat Beast Bendy and suddenly Joey is there, finally, in a place that looks like the real world but certainly doesn't feel real. The calendar in Joey's apartment cycles through the month of August but never moves past it, and I can't shake the idea that Joey could be just as trapped in the cycle as Henry, also never quite deviating from his own script, only briefly appearing in a memory of his own apartment when Henry releases his soul from the demon he created.

I don't know that this could ever shake out enough to be any sort of Actual Theory, but in my brain it's still kind of the background of Escape AU because it's a premise that makes it possible for the employees to actually be themselves. So, the cartoon studio is real, but the things that show up in Joey's apartment might be hit or miss as to whether they're a memory from Joey's real apartment, or if they're imagined wishful thinking on Joey's part.

#i know you have questions you always do #we all write on the walls #IM SORRY FOR SO MANY WORDS IM INCAPABLE OF BEING SUCCINCT #Escape AU #wally franks #i am not 100% sure i know what im talking about but that's okay

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timerainseternal · 4 years ago

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Who’s your favorite character of tua and why

I enjoy most of the characters in Umbrella Academy, but my favorite is Five! As for why, there are a lot of reasons, but I think, writing-wise it's because I don't know what he will do at any given moment, but I trust where he's going. This is a difficult balance to pull off, but I'll try to explain exactly what I mean and why I feel that way.

Firstly, I don't know what he'll do, which makes him interesting to watch. He's full of contradictions in many ways, he's very resourceful, and he's written as someone who is extremely smart. (Though another thing I find interesting is that unlike with many other "genius" characters, intelligence--as in knowledge or ability like with his scribbling-on-the-walls math--isn't his primary trait, at least not to me. Before that I would say that he is at least determined, as well as resourceful in a way that isn't linked strictly to book smarts. Instead, he's driven on sustained desperation that "geniuses" never seem to get in media, and even though he's so smart and generally competent, his plans often or always fail, which I actually made a whole post about. Even further, we know he's 58, so his knowledge is based not only on natural ability, but also a lot of work and time, which is also not the general presentation. We know he's smart, but figuring out time travel took him a whole lifetime.) Anyway, even his power set is...fluidly defined. I don't know what plans he will make, or what side effects will follow--only that, based on past experience, side effects will follow. As such, I'm very entertained watching him constantly pivoting and coming up with new ideas and plans, especially since I think he gets more plot turns than anyone else in the series, or at least is a more active force in those turns.

His choices also showcase the desperation that is at the core of him, and the moral greyness that comes from it. He's not bound by normal considerations like most of the others are; often, he doesn't even consider them. What might be off-limits to others isn't off-limits to him (which is like his powers in a funny kind of way). But really, it all stems from the fact of having lost everything with his 45-year stint in the apocalypse and the loneliness that comes from that. It's an interesting philosophical thought experiment. What are morals in a dead world? What are a few thousand people compared to the end of humanity? What are we if everything else gets stripped away?

And for Five, the answer is not in the violence we've seen him commit, but instead the love he shows. He was presented as a prickly genius who is smarter than everyone and knows everything (like he says to Allison in ep 1) and who is also a time-travelling assassin hardened by decades in a wasteland. We expect competence, cold calculation, and a near-complete lack of empathy. But then we meet Dolores, and we learn that he's doing everything for his family, and we see that everything he does is for love of other people. Specific other people, sure, but love nonetheless. And he isn't cool about it, isn't aloof; he's lost it all before, and he's desperate, and nothing he does--despite what most shows tell you about geniuses--really fixes any problem completely, and especially not the relationships that got broken when he left.

Yet even despite all that, he's also predictable in a way that lets me trust him. Obviously, as an audience, we see how pressing and devastating the apocalypse is. It's the end. Yet none of the other characters understand that the way we do, or the way Five does. His ultimate goal is to stop that from happening and protect his family, and given his life experience, I know that there is nothing that will stop him as long as he's around. I trust that his character will make decisions towards an end goal that I agree with as the audience, and that as long as that remains true, I know that even if I don't know where he's going with a plan, I can at least trust his intent. Even with the Commission, where he worked as an assassin and presumably murdered innocents, the end goal is great enough that it makes sense. Moreover, though, is that once we see that his motivation is for love and to protect, not from a place of sadism or superiority, and that he will even listen to others to find a less violent workaround (as with Luther in s1), I trust his intentions even more.

That's part of what makes the murder of the Board, and then the aftermath, so interesting: it's a study in contradiction, the urge to be violent and feel seen and effective and successful, contrasted with a sense of guilt and remorse and an understanding that it's not the best version of himself. He's warring with those instincts, but the writers have portrayed him in a way that allows for understanding and sympathy.

For another thing, as I think @the-aro-ace-arrow-ace mentioned, given his unique standing as both 13 and 58, he can't really have a romantic relationship to pull him away like the others can, nor do I think he would if he could, considering the timespan the show tends to give him. He's not really in the mindset for romance at all, and especially not a romance that would distract him from his goals. Not only was Dolores an extension of his own mind for a long time, but also was one he was willing to abandon, first going with the Handler, then again towards the end of season 1. Not only does this make his goals less likely to be swayed from what I, as an audience member, consider to be important, but also romance as the sort of "love at first sight, I will prioritize you over everyone else without any real merit behind it" is always a bit flimsy to me. Maybe I'm a little too aromantic to get it, but I generally find it a bit distracting at best unless done really well. (I did like Raymond and Allison as a couple. I thought that was done really well, where they had time and chemistry and respect for each other, and I enjoyed the time they spent together. It doesn't hurt that Allison is my second favorite, but it stands well even besides that. It's just a good relationship.)

Finally, all of that plays into Five's relationships with others. He isn't good at being a social creature (understandable), yet that's what he values most: his family. He wants to be empathetic--and in many cases he can be--but he's battling his own inability to be understood. He doesn't even fully understand himself in the world he left when he was a child. In a very real sense, he can't do what has become most important to him--not that his siblings are the best role models for communication. It makes sense, then, that he was able to seemingly connect with Reginald. Five wants to connect with the people he missed and felt like he wronged, no matter if he actually was in the wrong or not. He so often gets ignored/misunderstood/considered crazy that even as someone just watching that conversation, it felt cathartic for him to be listened to and taken seriously, even if I think Reginald is the absolute worst and that the best thing for him to do would be to stay dead. Five thought he was being the most rational of his siblings in that supper, but he didn't realize that his biases were as strong or stronger, and just had a different root. His relationships with others are his strongest desire/goal/motivator, but he has such a distorted perception of the way the world works on a daily, interpersonal level and also who he is in that world, that he can't really make it work right, and that's really neat to watch.

In my mind, also, what Five is looking for isn't actually his family from 2019. It isn't even his family from 2002, or at least not just them. I think that what he wants is to be who he was when he left, before he got stuck in the apocalypse. He wants his family because he loves them--I don't doubt that, and I don't want to discredit it--but also because I think in some sense he believes that if he can just be with them again, he can make things the way they used to be, the way he used to be. He's kind of like Luther in that regard, except that Luther is beginning to move on, and Five is stuck in it. The tragedy in this, of course, is that he's the time traveller here, and no matter what time he goes to, his only choice is forwards for himself. He can't go back, even if he reaches the exact moment he left. This, of course, is speculation--or analysis, if we use the kinder term--but I think it shows how much can be read into his character based on his choices and narrative arc, and that in itself is interesting whether it was intended or not.

So, that's an overly long answer to your question! It's Five because I think he's interesting, and I think he's interesting because the writers have backed themselves into a corner where he kind of has to be. I hope that was what you were looking for!

#asks #tua asks

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originalsdaily · 7 years ago

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THE ORIGINALS SEASON 5 - ALL THE FACTS AS OF PREMIER DAY 18TH APRIL 2018 - All ship information, TVD character cameos, new characters, flashbacks, how the show will end and other tidbits (also 'accidental’ spoilers the writers didn’t want us to see)

DISCLAIMER:

These are compilation of spoilers issued by the writers and cast themselves through social media, SDCC and text/video interviews, also IMDB listings. Please don’t read if you don’t wish to have spoilers for the upcoming season. The ‘accidental spoilers’ for the season are going to be posted under a cut, so those who want the official spoilers and wish to stay away from the other ones can do so.

Below is a summary of everything we know so far about season five. I’ve sourced where possible, though for some things there is no available source, (such as Danielle Russells instagram live video which isn’t available in it’s entirety, though I watched live and wrote down what she said as it was airing, and a photograph from Carina Mackenzie’s instagram of a draft of 502 which was not screenshotted.) At the time of posting, all tweets are active, though tweets can be removed at any point. This is up to date at time of posting, I’ve scoured and added everything I could find. If I’ve missed something out, please link me and I will add on.

For SDCC 2017 facts, I’ve simply put “SDCC” as the source. Here are links to watch the SDCC panel - (xx)

A compilation of like 97% of the bts photos are here (x)

General Season Info

The Originals season five premiers Wednesday, April 18th at 9:00 p.m and this season is the final season of the show (x) (x) The show was originally due to premier on the 20th April, but got moved from Friday to Wednesday. The show has now been on every single weeknight. (x)

The Tagline of the season is “Family, Always and Forever” (x)

Joseph Morgan, Daniel Gillies and Charles Michael Davis will be directing again. Joseph is to direct episode 3 “Ne Me Quitte Pas,” Charles to direct episode 6 “What, Will, I, Have, Left” and Daniel is to direct episode 10 (SDCC) (x)(x)(x)(x)

Episode titles are as follows (followed by director, writer(s) and synopsis where possible) (x):

5x01 ‘Where You Left Your Heart’ - Directed by Lance Anderson, written by Marguerite MacIntyre (x)(x)

“Desperate to see her father Klaus after seven years, Hope resorts to drastic measures to bring her father back to New Orleans. Hayley attempts to minimize the fallout from Hope's actions, but not before news of what she's done ripples through the city. Meanwhile, Freya's guilt over not being able to reunite her family gets in the way of her happiness with Keelin, while Rebekah struggles with her inability to fully commit to Marcel. Finally, struggling without Elijah by his side, Klaus' murderous rampage throughout Europe leads to an unexpected encounter with Caroline Forbes.”

5x02 ‘One Wrong Turn On Bourbon’ - Written by Carina Mackenzie (x)(x)

“When a mysterious disappearance brings Klaus back to New Orleans, Hope looks forward to the prospect of seeing her father again. However, when the dark magic that had been keeping them apart begins to manifest in dangerous ways across the city, Vincent turns to Ivy for guidance about what it may mean. Elsewhere, Marcel returns to New Orleans amidst increased tensions between the supernatural factions, while Freya makes a decision about her future with Keelin. Finally, Roman's surprise visit to the Mikaelson compound forces Hope to reveal some dark truths about her family. Josh also appears.”

5x03 'Ne Me Quitte Pas’ (Do not leave me) - Directed by Joseph Morgan (x)(x)

“In the immediate aftermath of having his memory erased by Marcel, Elijah awakens to find himself in the middle of nowhere and without a clue as to who he is. Unable to control his instinctive vampire ways, Elijah encounters Antoinette, a beautiful and free-spirited vampire, who helps him navigate his new life. However, a run-in with Klaus threatens to destroy the peace he's finally found.”

5x04 'Between the Devil and the Deep Blue Sea’

5x05 'Don’t It Just Break Your Heart’

5x06 ‘What, Will, I, Have, Left” - Written by Marguerite MacIntyre, Directed by Charles Michael Davis (x)

5x07 ‘God’s Gonna Trouble The Water’ - Written by Bianca Sams & Julie Plec (x)(x)

5x08 ‘The Kindness Of Strangers’ - Written by Carina Mackenzie (x)(x)

5x09 ‘We Have Not Long To Live’

5x10 ‘There In The Disappearing Light’ - Written by Jeffery Lieber & Eva McKenna, Directed by Daniel Gillies (x)(x)

5x11 ‘Till The Day I Die’

5x12 ‘The Tale Of Two Wolves’ - Written by Carina Mackenzie (x)

5x13 ‘When the Saints Go Marching In” - Written by Jeffery Lieber & Julie Plec (x)(x)

On returning special guests:

Nate Buzolic, Claire Holt, Danielle Campbell and Sebastian Roche are all also returning for their roles as Kol, Rebekah, Davina and Mikael respectively. (x)(x)(x)

Julie said there’s a chance Cami, Finn or Jackson will appear this season. Soon after posting this, Leah Pipes was on set for one of the final episodes (x) (x)

On the Mikaelson Family:

There are “several” Hope/Elijah scenes and “a few” Rebekah/Hope scenes (Danielle’s insta live)

"This season is about the Mikaelsons trying to find a way to bring the family back together" (x)

Danielle Russell said Hope was 15 (in her insta live) and that eight years have passed, which was originally said during SDCC by Julie also. However, Julie has stated seven years elsewhere (x) (There seems to now be a general consensus 7 years has passed)

Hayley, Klaus and Hope are ‘a family’ (Danielle’s insta live)

More sister bonding for Freya and Rebekah will be in the show. (x)

Klaus’ true ship of the season is the family (x)

We can tell that a lot has changed, but as the siblings have been alive for 1000 years, it’s almost like a blink of an eye for them. (x)

Hope and Klaus have a strained relationship, despite Hayley and Freya trying very hard to keep them all close. Klaus ignored Hope over the years and Hope isn’t thrilled about it. (x) (x)

Nobody at school knows Hope is a Mikaelson. (x)

Riley describes Freya’s first love as her family. (x)

Hayley has found happiness with her new boyfriend Declan (x)

Freya is experiencing peace for the first time in her life though struggling to put herself first, she’s in love and happy, though working to bring her family back together and has also been very active in Hope’s life, working as her mentor and support system, which causes conflict with Klaus. It has also been stated that she is in her late 30′s / early 40′s but has physically aged slowly (SDCC)(x)(x)(x)

During the time jump, Klaus has gone on a murder spree (SDCC)

Hayley and Hope have a typical chaotic mother/daughter relationship and there will be ‘many’ scenes with the two of them together. During the time jump Hayley has helped Hope with school projects, focused on her personal life, and also tried to overcome her heartbreak to be strong for Hope. (SDCC) (x) (x)

Marcel will reflect on his past and how he’s managed the quarter. (x)

We see why Rebekah makes the same mistakes over and over, going deep into who she is. (x)

Klaus hasn’t been in touch in five years (x)

Klaus visits Elijah in Manosque, France and converses with him, though Elijah has no clue who he is (x)

There’s a Freya/Elijah moment in which there’s tears of happiness (x)

Hayley is not in every episode this season. Elijah will also not be in at least one episode. However, Klaus is in all. (x) (x)

We get an episode that is Elijah from start to finish. We get to see where Elijah left off in the s4 finale, and what he’s been doing in the seven years that’s passed. Julie has said she had “Being able to write a narrative for Elijah that allowed him to live an entirely different life and imagining what that life would look like was a lot of fun,” (x) (x)

Hope is aware of the kind of man her father is and what he’s done, and is annoyed he's trying to hide it from her (x)

On new characters:

Minor characters cast for the season include Nicholas Alexander as “Henry Benoit”, Alexis Louder as “Lisina”, Katie Cook as “Poppy”, Malone Thomas as “Colette”, Jamie Thomas King as “August Muller”, Kyle Jackson as “Lookie Loo”, Jason Burkey as “David”, Shiva Kalaiselvan as “Ivy”, Bella Samman & Allison Gobuzzi as “Josie & Lizzie Saltzman” (x)(x)(x)(x)(x)(x)

Several love interests have been cast for main characters. Jaime Murray has been cast as Elijah’s new love interest Antoinette - “a beautiful, “old-school” vampire who meets Elijah shortly after he loses his memories. Her flirtatious, free-spirited nature masks dark secrets about her painful past” - who will appear in episode 3. Torrance Coombs has been cast as Declan - a flirty Irish chef completely ignorant to the supernatural until Hayley introduces him to it - and he’s to be Hayley’s new love interest. He’s been described as her ‘friend with benefits’ and Hayley has been described as ‘the woman he loves’ Jedediah Goodacre has been cast as Roman - “ a charming vampire who takes an interest in Hope after a “mysterious incident” occurs at her school” - Hope’s love interest. Another love interest for Hope includes Landon, portrayed by Aria Shahghasemi - “a thoughtful, compassionate and self-aware kid from the wrong side of the tracks who catches Hope’s attention when she witnesses him being bullied by his affluent classmates,” & “desperate to escape his broken home and the small southern town in which it stands. Despite being human, Landon apparently has a shady past, and investigating it could lead him into the dangerous world of the supernatural.” - who will appear in the penultimate episode (x) (x) (x) (x) (SDCC)

A character named Margot is set to appear, described as “a “calculating” vampire, whose glory days trace all the way back to 1920s Europe. She recently moved to New Orleans, and she has an “almost zealous devotion to her family.” (x) It’s highly likely that ‘Margot’ has been renamed to ‘Greta Sienna’ and will be played by Nadine Lewington as the character descriptions are identical (x)(x)

On TVD character appearances

Candice King is set to appear in 4 episodes, 501, 506, 512 & 513, reprising her role from The Vampire Diaries as Caroline Forbes-Salvatore, Headmistress of the school Hope attends - it was also confirmed she recorded audio for a fifth episode. Matt Davis will reprise his TVD role as Alaric Saltzman in episode 512. Demetrius Bridges will also reprise his TVD role as “Dorian Williams” 501 at least (x)(x)(x)(x)(x)(x)(x)

Stefan Salvatore mentions are possible. And due to a bts photograph of stand ins that have hair unmistakably like that of Stefan, it’s almost certain he will appear along with his brother Damon. (x) (x) (Though in an interview, Paul has said he likely wont cameo, which means that the stand in’s may simply be filmed from the back to represent the Salvatore’s, though their faces and voices wont be appearing)

Regarding Flashbacks:

Summer Fontana will return as Hope in flashbacks as we see her struggle with her magic as she grows older. (x) (x) ( Also confirmed by Danielle Russell in her insta live when she said she met Summer on set)

There’ll be a flashback to 1x22 show how Hope got her name (x) (further evidenced by this photo of Phoebe on set wearing her 1x22 post-birth costume)

On the final episode:

In the finale there’ll be a bench scene between Elijah and Klaus similar to the one in the first episode (x)

When asked about the finale, Joseph said “The family doesn’t all sail off together into the sunset. There is hope there, there is definitely some sort of peace for everyone. It’s very emotional.” (x)

One of Julie’s regrets is that there was never a full scene on why Elijah believed Klaus had dropped the family into the ocean, though it is touched upon in the finale. (x)

Julie says there’s no character who had their ending planned from day one (x)

The show probably won’t get a happy ending and it’s possible that the final words of the show may end up being the iconic “always and forever” (SDCC) (x) (Danielle said in her insta live that she believes the finale ties a lot of things together)

On Vincent:

It’s confirmed Vincent will be given a love interest and has just been carrying on with ‘business as usual’ in New Orleans, he’s been maintaining the stability of the city. He’s comfortable but vigilant. (SDCC) (x)

He is managing the quarter, restoring peace and calm (with a little help from Freya) (x)

On Hope / Roman

Roman and Hope is described as “Complicated but really interesting” (Danielle’s insta live)

Roman appears to be the only person who knows Hope is a Mikaelson, it’s unknown if he’s always been aware or is new to the fact. (x)

On Freya / Keelin

Freya and Keelin have a love that runs deep but they’ll hit hurdles along the way (x)

Freya is ‘so in love with’ Keelin - “Keelin definitely wants her to put herself first, and it’s just really hard for Freya. But I think you’ll start to see that transition a little bit, where she starts kind of considering, you know, ‘This is what’s best, and my family understands, and that doesn’t tear us apart.’ - Riley (x)

Keelin has been spending time with Doctors Without Borders, in the Middle East (currently in Lebanon) and is often away from New Orleans; Freya astral projects to her. They spend a lot of time apart, as Freya doesn’t want to leave the city till her family are reunited, this gets to Keelin. Keelin wants to spend the rest of her life with Freya, but wants to explore their relationship when Freya isn’t as connected to her family. Freya fears she’ll lose Keelin if she doesn’t join her in Lebanon. (x)

On Hayley / Elijah -

Elijah and Hayley will have a conversation about their past, future, regrets and dreams and their relationship this season is described as “equal love and pain” in regards to them, though Julie hopes the two will find peace in eternity together (x) (x) (SDCC)

Hayley & Elijah will appear in Mystic Falls during the season (x)(x)

On Marcel / Rebekah -

Marcel and Rebekah have remained in New York over the time jump, Charles joked they were ‘catching broadway shows’ and couldn’t get tickets to see Hamilton (SDCC)

They have a penthouse in New York, and they’re doing ‘pretty good’, coping well with the Mikaelson separation, though Rebekah does get upset and it sometimes causes tension. (x)

On Kol / Davina -

Kol and Davina are married in season 5, the wedding happened in the time jump. Nate described their relationship this season as “The struggle that comes into play is now that he has this responsibility to his wife, he also has this struggle with his family. And I guess as he tries to separate from the family, his family tries to drag him back in. It becomes a bit of a struggle between wife and family.” (x)

On Klaus / Caroline -

Caroline and Klaus will have three scenes together in 501. She will be there to call Klaus out on his shit. Caroline also has at least one scene with Klaus in the season finale in New Orleans. (SDCC) (x)

Julie say’s that they don’t collide and get a happy ending - because she thinks their relationship is more mature than that. In the same interview Joseph is satisfied with how the characters leave off, and he hopes the way it’s done will pay tribute to the fans and their devotion, but warns that not everyone will be happy. (x)

According to Candice, Julie has always had a ‘clear idea’ of what she wanted from Klaus and Caroline together, and the final season of The Originals gives life to that. (x)

Misc info:

The Hollow will remain a prominent enemy in the season, but there’ll be another big bad to contend with. “The Big Bad this year is launched from an ideology more so than one singular person’s nefarious desire, It’s an ideology that was spawned almost a century ago, a movement that has been simmering and stewing over that century. It does have a personal connection to the Mikaelson family, but it also has a thematic resonance that is very timely.” (x)

Every year, Josh, Freya, Vincent and Hayley prep for Mardi Gras together (x)

Julie promises a ‘sliver’ of hope for Klaus and Cami fans (x)

Don’t expect a friendship between Caroline’s twins and Hope, it seems that the age gap isn’t workable for the three witches to become friends. (x) (x)

New Orleans has been at peace without Klaus (x) (x)

The werewolves still have their upgraded power, as Hayley and Jackson kept their vows until he died, and the werewolves will be included more this season (x)(x)

Caroline and Freya don’t have scenes together (x)

Caroline will also have a scene with Josh in 501 (SDCC)

Julie scripted a wolf!Klaus scene but it was cut (x)

UNDER THE CUT ARE THE ‘ACCIDENTAL SPOILERS’ FROM THE WRITERS ROOM. DO NOT READ IF YOU DO NOT WISH TO BE SPOILED BEYOND WHAT THE WRITERS HAVE OFFICIALLY CLEARED

These are the ‘accidental spoilers’ - spoilers that were leaked by the writers unintentionally and the photograph which revealed them was quickly deleted. These have been put under the cut so those who do not wish to view them do not have to.

This was posted by the new showrunner Jeff Lieber, the storyboard is from episode 507 - it was promptly deleted

As the image is hard to read, I’ll decode it down here;

Hayley dies in 5x06, she burns to death. Klaus tries to save her but is unable to as someone stops him. Elijah watches her death.

Elijah’s memory returns.

Someone (possibly Margot due to the last letter of the name being ‘T’ and she is the only character with a name ending in ‘T’) knows Hope could be the ‘Ruin or Salvation’ of New Orleans.

Margot is killed to protect Hope (Which furthers the theory that she knows Hope could ruin NOLA and may have tried to stop her)

Vincent is on the outs with Klaus and Freya

Keelin is pregnant - judging by the comment “Freya/Keelin resolution” it could be assumed that Freya is unhappy about the situation

Marcel and Davina reunite, and Elijah is going to help Davina with a problem.

There’s a flashback in 507 -which is presumably the 1x22 flashback that Julie has all but confirmed is where Hope’s name is decided upon (due to the nature of the flashback and the episode in which it takes place in, one can assume that Klaus is telling Hope how she got her name in an attempt to comfort her) (also see this post here explaining how people came to the conclusion that the flashback is set in 1x22)

Hope goes missing and is searched for by Klaus and Caroline

Hayley’s funeral is in 5x07, Klaus speaks at her funeral. On the board there are several points questioning the kind of funeral Hayley will have, a second line typical of new orleans, or a crescent ceremony in the bayou -judging by info from fans who watched filming in Conyers (from videos that have now been deleted) - there was a second line funeral parade filmed meaning Hayley probably doesn’t get a Crescent ceremony.

Hope is angered by Hayley’s ‘calm funeral’ and is to make a ‘big move’ at the end of the episode.

#the originals #toedit #original groupies #the vampire diaries #to #tos5

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orbemnews · 4 years ago

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When Doing Well Means Doing Good Exclusive: The S.E.C.’s evolution on E.S.G. Allison Herren Lee was named acting chair of the Securities and Exchange Commission in January, and since then she has been active, especially when it comes to environmental, social and governance, or E.S.G., issues. The agency has issued a flurry of notices that such disclosures will be priorities this year. Today, Ms. Lee, who was appointed as a commissioner by President Donald Trump in 2019, is speaking at the Center for American Progress, where she will call for input on additional E.S.G. transparency, according to prepared remarks seen by DealBook. The supposed distinction between what’s good and what’s profitable is diminishing, Ms. Lee will argue in the speech, saying that “acting in pursuit of the public interest and acting to maximize the bottom line” are complementary. The S.E.C.’s job is to meet investor demand for data on a range of corporate activities, and Ms. Lee’s planned remarks suggest that greater transparency on E.S.G. issues won’t be optional for much longer. “That demand is not being met by the current voluntary framework,” she will say. “Human capital, human rights, climate change — these issues are fundamental to our markets, and investors want to and can help drive sustainable solutions on these issues.” Ms. Lee will also argue that “political spending disclosure is inextricably linked to E.S.G. issues,” based on research showing that many companies have made climate pledges while donating to candidates with contradictory voting records. The same goes for racial justice initiatives, she will say. This is not an interim priority. Ms. Lee is acting chief, but based on recent statements by Gary Gensler, President Biden’s choice to lead the S.E.C., she’s laying the groundwork for more action rather than throwing down the gauntlet. In his confirmation hearing this month, Mr. Gensler said that investors increasingly wanted companies to disclose risks associated with climate change, diversity, political spending and other E.S.G. issues. Not everyone at the S.E.C. is on board. Hester Peirce and Elad Roisman, fellow commissioners also appointed by Mr. Trump, recently protested the “steady flow” of climate and E.S.G. notices. They issued a public statement, asking, “Do these announcements represent a change from current commission practices or a continuation of the status quo with a new public relations twist?” Further reading: HERE’S WHAT’S HAPPENING More prominent Democrats abandon Gov. Andrew Cuomo. Lawmakers like Speaker Nancy Pelosi and Representative Alexandria Ocasio-Cortez suggested, to varying degrees, that the governor of New York consider resigning over allegations of sexual harassment. He has rejected those calls and is considering running for a fourth term. The U.S. is considering new ways to protect itself against cyberattacks. Efforts by China and Russia to breach government and corporate computer networks — and the failure of American intelligence to detect them — have spurred discussions about ways to organize U.S. cyberdefenses, including more partnerships with private companies. Credit Suisse is accused of continuing to help Americans evade taxes. The Swiss bank aided clients in hiding assets, seven years after it promised U.S. federal prosecutors that it would stop doing so, according to a whistle-blower report. That puts the firm at risk of a fresh investigation and more financial penalties. The bank said it was cooperating with the authorities. A veteran Democratic official is poised to join the Biden administration. Gene Sperling, an economic wonk who served in the Clinton and Obama administrations, is likely to oversee the implementation of the $1.9 trillion stimulus plan, Politico reports. Stripe is now Silicon Valley’s most valuable start-up. The payments processor has raised funding from investors like Sequoia and Fidelity at a $95 billion valuation. Stripe plans to use the money to expand in Europe, including in its founders’ home country, Ireland. Blockchain for the underbanked Brian Brooks, the former acting chief of the Office of the Comptroller of the Currency, is really into blockchain. He was, after all, the chief counsel of the cryptocurrency exchange Coinbase before joining the O.C.C. But his enthusiasm isn’t based on Bitcoin’s success as much as on his personal struggles, he told DealBook. Mr. Brooks borrowed his way out of an ailing town. He grew up in Pueblo, Colo., a steel center that lost its purpose in the 1980s. His father took his own life when Mr. Brooks was 14, and he and his mother had little. In high school, he waited tables and took out loans for school, for a car and eventually for a home. Now, he’s betting that blockchain can help the underbanked do the same more easily. “Unlocking credit availability allows people to move up the ladder,” Mr. Brooks said. Nearly 50 million Americans don’t have credit scores, but many are creditworthy. Traditional rating systems aren’t equipped for nuanced assessments that might include things like rent, Netflix bills or income from gig work. For many, the inability to borrow limits opportunities to achieve financial security. At the O.C.C., Mr. Brooks started Project Reach, a financial inclusion initiative. His first move since resigning from the agency in January is to join the board of the fintech firm Spring Labs as an independent director, DealBook is the first to report. Among other things, the company is developing richer data environments for credit scoring using blockchain tech. Finding solutions to financial inclusion that are immune to politics is key, noted Mr. Brooks, a Trump administration appointee. Credit, he argues, lets people bet on themselves regardless of which party is making policy, and the current system excludes many worthy borrowers. “Let’s let more people climb ladders,” Mr. Brooks said. “It’s just a pent-up cycle where the money has nowhere to go, so it’s doing stupid things.” — Howard Lindzon, an investor, entrepreneur and market commentator, speaking to The Times’s Erin Griffith on the booms (or bubbles) in everything from trading cards to Bitcoin, SPACs and so-called meme stocks. Big Pharma’s Covid booster The pharmaceutical industry is popular right now, which is perhaps unsurprising considering that the end of the pandemic depends on Covid-19 vaccines. Drug makers’ rapid response to the crisis has transformed public sentiment about the industry, moving it from one of the most reviled to one of the most respected, according to new data from the Harris Poll, revealed exclusively in DealBook. A year of living in fear created unlikely heroes. For the past year or so, the Harris Poll has monitored public sentiment in weekly surveys of more than 114,000 people. At the height of the emergency, more than half of respondents were afraid of dying from the virus and a similar share were afraid of losing their jobs. “Only in the past month, with vaccines rising and hospitalizations and deaths declining, is fear abating,” the report noted. Business got good grades during the pandemic. Many respondents cited companies as important to solving problems, where previously they were considered the cause of social woes. (Two-thirds said that companies could do a better job coordinating the vaccine rollout than the government could.) Approval ratings rose for many industries from January last year to February this year. But the reputation of the pharma industry — stained by its role in the opioid crisis and criticized for high drug prices — benefited the most. In January 2020, only 32 percent of respondents viewed the industry positively; late last month, that had almost doubled, to 62 percent. “The pharmaceutical industry’s ability to innovate and perform under intense pressure and in a time of crisis is the ultimate validation for any business,” said John Gerzema, the C.E.O. of the Harris Poll. On Big Government and Big Tech Silicon Valley has been lauded for decades as a hotbed of ingenuity, where companies like Google were born from the brains of entrepreneurs. But in the latest episode of The Times’s Opinion podcast “Sway,” the economist Mariana Mazzucato told Kara Swisher that the traditional narrative has holes in it. “Do you have any idea where the innovation in places like Silicon Valley came from?” asked Ms. Mazzucato, the founder of University College London’s Institute for Innovation and Public Purpose. She ticked off technologies like the internet and GPS: “We wouldn’t have any smart product without all the smart technology, which was government-financed.” “It’s not that the private sector is not doing anything,” she said. “It’s that the government comes in first, does the heavy lifting and invests in the most early stage, high-risk stage — which is exactly the opposite of the storytelling and the narrative.” “We have to admit that value is collectively created,” she said. “It’s not just created in business. The public sector itself is a value.” Listen to the conversation here. THE SPEED READ Deals The French food giant Danone ousted Emmanuel Faber as its chairman and C.E.O., under pressure from two activist investors. (FT) A Maryland hotel magnate who cut a deal to buy The Baltimore Sun from Tribune Publishing may instead challenge Alden Global Capital for all of Tribune’s newspapers. (NYT) The value of short bets against SPACs has more than tripled since the start of the year. (WSJ) Politics and policy Jeff Bezos declined an invitation to speak at a Senate hearing on economic inequality, which will include testimony from an Amazon employee involved in union organization efforts in Alabama. (CNN) With pandemic stimulus out of the way, President Biden is now making infrastructure spending a priority. Can it pass Congress? (FT) Tech Ant Group’s C.E.O., Simon Hu, resigned amid pressure on the Chinese fintech giant from Beijing to overhaul its business. (NYT) In a securities filing, Elon Musk gave himself a new title, “Technoking of Tesla,” and the company’s C.F.O. Zach Kirkhorn is “Master of Coin.” (S.E.C.) Tesla’s California factory recorded hundreds of Covid-19 cases after Mr. Musk reopened the plant last May, according to county data. (WaPo) Best of the rest Peter Diamandis, the founder of the X Prize, held an in-person conference that became a Covid-19 superspreader event — and then followed up with a webinar that touted questionable treatments. (MIT Technology Review) How the I.P.O. of Coupang, an e-commerce giant, signals a potential weakening of South Korea’s traditional corporate elite. (Bloomberg) Some at Goldman Sachs are reportedly frustrated by the leadership of David Solomon during the pandemic, including his criticism of working remotely — while he himself has booked numerous getaways. (Bloomberg) We’d like your feedback! Please email thoughts and suggestions to [email protected]. Source link Orbem News #Good #means

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lorajackson · 4 years ago

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Politics Podcasts

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In a 5-to-4 decision, the Supreme Court ruled on Thursday that President Trump may not shut down Deferred Action for Childhood Arrivals, or DACA, the program that shields immigrants brought to the United States as children from deportation. But is this the end of challenges to DACA? “The Latest,” from the team behind “The Daily,” brings you the mos…

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Fmr. Trump aide John Bolton accuses the president of asking for help from China to win re-election, being unaware that the UK has nuclear weapons, and much more. Plus, the fire police officer in Atlanta who shot and killed Rayshard Brooks is now facing multiple charges including felony murder. Philip Rucker, A.B. Stoddard, Jeremy Bash, Michael Oste…

Tonight on the Last Word: The officer who shot Rayshard Brooks faces 11 charges, including felony murder. Also, John Bolton reveals a long list of Trump misconduct months after requests for testimony during the impeachment inquiry. Plus, Joe Biden slams Trump’s coronavirus response. New national polls show a double-digit lead for Biden. And George …

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thirtyonestories · 8 years ago

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The Wait & See Approach

Does anyone know what’s up with television writers/showrunners nowadays just taking the “wait and see” approach when it comes to their shows? Like I’m generally curious what’s with this new trend of supposedly just letting the story go where it goes. The first time I ever witnessed this was on Gossip Girl when it finally came to revealing who Gossip Girl actually was (Spoiler Alert!!!) Dan. The reason I noticed it was because I had binged the entire show right before the final season premiered so nearly everything about the series was still right there in my mind as I watch the episodes leading up to the series finale. When they finally revealed that Dan was Gossip Girl, all I could think was that it didn’t make any sense. There were multiple moments throughout the series who Dan would have been incapable of learning the information Gossip Girl did and if he was, then you get into the creepy way he put his sister’s sexual exploits on blast and had a hand in driving her out of town, even if it was apparently for her benefit. I just don’t understand how you can build an entire show around a shadowy character who constantly exposes the secrets and exploits of other characters but not have some semblance of an idea who it is. Any good writer would plot something like that out and leave hints only the most committed and dedicated audience members would pick up on. Instead, the showrunners waited till the last season to figure out who Gossip Girl was and probably threw a dart at a board or spun a wheel of character names to decide. *** I’m going to bold different sections for each show I talk about.

Pretty Little Liars

You run into the same isssue with Pretty Little Liars which definitely has the same format as Gossip Girl except more sinister. The villain of the series is a shadowy character known as A who, during the sixth season was revealed as (spoiler alert!!!!!!) Cece Drake.The issue with this reveal is throughout the series Cece was known as an acquaintance of Allison Dilaurentis and dated her older brother, Jason Dilaurentis. She apparently went to school with Jason, was prom queen, was known by/friends with multiple characters around the same age bracket. There was alot of history that went into developing Cece as a nonthreatening “frenemy” of the main girls but not the person who was terrorizing them. However, the season six reveal changed all that and revealed that Cece was apparently born Charles Dilaurentis (as in the twin of Jason, the person she dated but was justified in show since they never had sex). Other things like timelines, questionable motivation, flashback scenes in previous seasons, and previous confessions by the character in question also add up to the writers not having any actual idea who really was and chose an arbitary character who was convenient and brownie points (by making her a transwoman).

Arrow

Now with Gossip Girl and Pretty Little Liars, those examples could be seen as coincidence given the years separating the two tv series and the trend of only deciding who the villain is during the final seasons but I've seen examples of the wait and see approach in numerous other shows as well. In the tv show Arrow, the fourth season’s premier episode literally ended with a flash forward of someone’s (a major cast member’s) funeral. The showrunners said multiple times this death would change the show going forward and affect all the characters. I mean, with a main cast members death who had been on the show for seasons you would assume as much. However, when the character’s death episode finally aired (despite the death being leaked a few weeks prior) the writer’s revealed that when they introduced the plot of killing of a major character they had no idea who it would be. They decided to just let the story decide who they would kill off. I’m sorry but as a writer I feel there are certain things you absolutely have to plot out and one of those things are a character’s progression. Death is not the only tool to get a story going and nowadays it just seems like a cheap ploy for the shock factor in most television shows. Especially since this death was for Spoilers!!!! Laurel Lance, a mentally ill woman and former alcoholic who literally had no story all season besides reviving her sister from the dead (who had already “died” three times). I understand sometimes characters/people die suddenly and without rhyme or reason. It’s tragic, it’s unexpected, and it reminds you just how short life is. However, if you build an entire season around a mysterious death that is meant to happen six or seven months in the future, it’s no longer unexpected or sudden. If as a writer you decide I want to kill a character but don’t decide which character to kill until right before you’re slated to film an episode, maybe don’t introduce the plot to begin with. Audience members don’t like to be blindsided and walk away from something feeling nothing else but “what the fuck was that?” Then, after killing said character off don’t pretend she had such a tremendous legacy and impact that inspired people but you never showed it. That’s lip service and for anyone watching the shows, knows it’s bullshit. All it comes off as trying to justify why this character was murdered even though there’s no logical excuse. If this character was so inspiration and had such a great legacy, why was none of that shown in the show? And if she was so crucial and the show can’t be done without her, why kill her off?

How To Get Away With Murder

The same thing happened recently with How To Get Away With Murder. The premier episode of the season ended with a flash forward of the main/lead character pulling back the sheet of a dead body and subsequent episodes slowly revealed one by one who was still alive and wasn’t under the sheet. Eventually, it was revealed that Spoiler!!! Wes Gibbons, another main character/secondary lead was actually the body. The issue with this reveal was not only that they didn’t initially figure out who they were going to kill off (though they didn’t wait as long as the arrow showrunners did) but by killing off the character Wes, they had to cram in a bunch of bogus flashbacks to make it believable other main cast members really did feel distraught by his death. Two of the characters, Connor and Michaela, had spent 2.5 seasons insulting, belittling, blaming, demeaning, and in Connor’s case, threatening Wes for things out of his control but the episode following the reveal of his death they had both apparently shared touching moments with her and were upset by the fact that he was dead. Then of course his five second love interest was given a flashback to try and make it seem like their relationship had more depth/growth than it actually did before the showrunner killed him off. The whole thing came off as if they were trying to justify murdering this character under the guise of him reaching the end of his arc but if that were true why the crammed in flashbacks trying to make it seem like the other characters had some profound and touching connection with him when previous to the episode, most of them didn’t speak more than a couple sentences to him. Why try to make the Wes/Laurel relationship so important and have Laurel be pregnant only to kill him off (this is a character who hasn’t known a moment of happiness since he watched his mother die when he was like 8 or so.) At the same token, this is a character whose very existence started the chain reaction for most of the events in the show and was directly linked to each midseason mystery for better or worse. Killing off a character so directly tied to the narrative who had also literally been given a new arc comes off premature and like the showrunner just wanted to join the hype train of killing characters just because (especially women, people of color, queer, any combination of the three). And apparently, the character of Wes will still appear sporadically for flashback sequences but that begs of the question of what can this character do dead that he couldn’t do alive? Why did he need to die to develop everyone else? So we could get unjustified remorse from Michaela and Connor? So the showrunners can pretend the character actually had no more story to tell by using bogus flashbacks?

I just don’t understand how these writers are put in charge of these (admittedly highly successful, formerly in arrow’s case) shows yet don’t know the basics of storytelling. You don’t introduce a plot without a reasonable beginning and ending, you don’t introduce a character unless they have an actual purpose, you don’t cram in a ton of information about a character after the fact to justify an obvious shock factor/ratings grab death even if it is the midseason or season finale. And the sad thing is, in the case of every single one of these “wait and see” plotlines, the shows have received a ton of backlash. So why exactly do writers insist of repeating the mistakes of those before them?

#anti arrow #anti arrow writers #anti how to get away with murder #anti marc guggenheim #wes gibbons deserved better #pro laurel lance #anti pretty little liars

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conversationswithmyrabbit · 6 years ago

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Why We Fight (and refight)

Allison notes that moral ambiguity plays a substancial role in the film, highlighting scenes such as the death of the child and when the team choose to spare the life of an enemy soldier who later kills one of their own. Alongside this, there is also the use of guerilla tactics and multiracial units (cast includes a Jew, a Hispanic soldier, etc) which are all uncharacteristic of the Second World War. Instead, these are themes borrowed from the humiliating Vietnam conflict two decades later. In this sense, Allison argues that Spielberg decided to use the setting of the Second World War as an arena to refight Vietnam and help American audiences to come to terms with that loss within a setting of victory and moral safety. The setting here is imperative - WW2 is such an enduring and powerful signifier that it allowed Spielberg to mask the thematic links subtly and allow audiences to 'refight' Vietnam within the guise of WW2. Another example of this cinematic carthesis is Operation Finale, which depicts the covert capture of Adolf Eichmann (key figure in the Holocaust) by Mossad agents sent from Israel. Eichmann was one of the many Nazis who fled to Argentina after the war because of its stong facist links, before being later recaptured (although, many, like Mengele, were famously never captured). Whilst detailing Eichmann's capture with surprising historical accuracy, Finale is really an attempt to explore or invert Jewish experiences of the Holocaust. In comparison to Ryan, where the links to Vietnam are apparent but vestigial, the formidable presence of the Holocaust looms over the narrative of Finale and is referred to explicitly. For example, there are gruelling exchanges where the characters discuss their personal experiences under Nazi rule and who they lost in the persecution. This is used throughout as a device to amplify the evil of Eichmann, but also to motivate the characters as they realise the dangers of their espionage operation. But moreover, the portrayal of Eichmann's capture and the jeopardy the Jewish agents encounter in the process parallel the experiences of Jews during the persecution of the Nazis. For example, after capturing Eichmann, the agents are forced to stay hidden in a delapidated house with hidden rooms in order to escape the authorities. The portrayal is claustrophobic with the use of tracking shots in order to mitigate the space between characters. The characters bicker and argue as they pace and postulate about what their next move should be; they go to extreme efforts to remain silent; they become paranoid of being raided or of their location being betrayed. In this way, the scenes parallel our understanding of the experiences of Jews in hiding under Nazi rule. It is difficult to observe the scenes of Mossad Jews hiding Eichmann in a secret attic without conjuring the idea of Anne Frank's secret annexe. On top of this, the writers sacrificed a degree of historical accuracy in order to make the presence of Nazis more prominent in the film. In reality, though there was a groundswell of fascism in post-war Argentina, neo-Nazis played no role in the search for Eichmann once he had been declared missing by his family after his capture. In fact, there was only a scant police search. However, in the film, the Mossad agents are on the run from a local group of vehement neo-Nazis who have strong links with the police force. The visible iconography in these scenes, from the Swastika to the use of motorbikes which connote to effective use in Blitzkrieg, is a more overt homage to the Holocaust. Finally, in the climax of the film, the Jewish agents have to drug and disguise Eichmann in order to sneak him across the border. They are scrutinised and questioned in a knife-edge scene which completely inverts the experience of Jews attempting to flee or smuggle people across Nazi borders to safety. These examples demonstrate that style was deliberately managed in order to signpost the audience to deeper themes; in this case, the Holocaust. In this sense, the use of the successful capture and indictment of a leading Nazi as the setting and narrative acts as a safe arena in which to recapture the painful elements of the Holocaust and 'refight' them with a positive ending. The Jewish characters endure these Holocaust experiences in the film, but they survive and the Nazi is humiliated and convicted instead. It provides a happier ending to a tale that has pervaded the Jewish memory of the twentieth century. Even in the film, the idea that the Holocaust is inescapable is clear; the characters can't escape its shadow and discuss how it has affected them. Moreover, protagonist Malkin fears its hereditary characteristics by suggesting that his children, like himelf, would inherit the trauma. This is expressed through his refusal to have children with love-interest and supporting actor Hanna. Her pregnancy in the film's coda at the Eichmann trial is evidence of Malkin's cartharsis, but it is also metaphoric of the audience's experience - he has convalesced from his fear of the Holocaust by refighting it via his capture of Eichmann. The audience, too, is healed.

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georgieonlineresearch · 7 years ago

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Collaborations.

This module is called ‘Collaborative Production Project which means students must work together to create a short-film devised by one individual director/producer.

Cinematographer/Assistant Editor - JOSEPH ALLISON

Me and Joe have worked together on numerous occasions successfully. Getting hold of each other to arrange filming dates and discuss the production will be done efficiently through use of social media and mobile phones. We have already talked about the dates Joe is available to shoot and offer general help throughout the production. Joe has been given links to videos that offer the same style envisioned for the future short-production so that he can gain an understanding of how the shots should look in the scenes. This also helps when it comes to post-production as Joe will already have an idea of what effects, filters and post-production techniques to use in the final edit of the film. Joe also has access to his own camera equipment which is useful and saves time because we won’t have to book out a camera from the university and we can film when and where we want without any restrictions on camera usage. Once a shooting script has been produced, this will be sent to Joe so that he can get an idea of what shot types are desired and offer any thoughts that may arise.

Sound Design and Musical Score - VANESSA FITCHETT

Vanessa is the BA(HONS) Film Music student who decided she would be best suited to help on my short-production. Vanessa has shared a piece of her work with me and after listening to it, I agreed her style would work well for the musical score wanted in the upcoming film, ‘Guilt’. I have worked with Vanessa before successfully and know that she is easily contactable to arrange meetings and discuss ideas for the musical score. We have already discussed the pace of the music throughout certain moments in the film and I shall send her a mood board of scene order as this is what she has personally requested to help her gain an understanding on what events take place throughout the film which she will need to take into consideration when producing the sound for the future film.

Production Assistant/s - EMILY SEAGER and GEORGIA JAMES

I have requested the assistance of Emily and Georgia in case I or any other members of the crew need any help on shoot with equipment or ideas. They are both free on the desired day of filming, Tuesday 3rd April 2018, therefore a copy of the script will be sent to them so that they have an idea of what to expect on the day. Having assistants is less time consuming on shoot as they can be collecting and setting up equipment whilst I discuss ideas with my camera operator and the actors.

Actress - EMILY LANE

Emily is best suited to the main character in the film as she is the right age and how I envisioned the girl to look. Emily was the first person I thought of to play the role and was contacted to see if she would be interested. Emily said she would love to be involved and the film’s narrative was discussed. A date was arranged for when Emily would be available for filming and a copy of the script has been sent for her to read in preparation for her role. Emily is a recent BA (HONS) graduate from University Centre Colchester and recently performed as Audrey in Little Shop of Horrors which was shown at the local Mercury Theatre in Colchester town, therefore I have no concerns about acting from her.

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cashcounts · 7 years ago

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Meet the Extreme Geoengineers of Ancient Times

Editor’s Note: This article was originally published in an edition of NOVA’s email newsletter, NOVA Lens, and has now been repurposed for NOVA Next. Sign up for NOVA Lens here (select “NOVA Newsletters”).

This might look like an otherworldly video game, but it’s not. What you’re looking at is the outline of an ancient Mayan megalopolis.

This is no simulation.

“We found five new cities,” said Francisco Estrada-Belli, a research assistant professor at Tulane University.

Estrada-Belli and 29 other scientists discovered 60,000 previously unknown Mayan buildings, homes, ceremonial structures, agricultural adaptations, and pyramids using LIDAR—a technology that uses pulsed laser light to reveal the shape of objects, including those obscured by dense forest canopies. “This is the largest archaeological survey done by LIDAR in the whole world,” he said.

Thick Central American jungles conceal many remnants of ancient Mayan cities from view. People—including looters—have stumbled across these sites over the years, though more recently LIDAR has allowed professionals to rapidly analyze the landscape without harming it. What’s different about this survey, in particular, is its enormous scale. “There’s more of everything than we would have predicted,” said Marcello Canuto, a professor of anthropology at Tulane University, who was also part of the research team.

Researchers have always assumed that Mayan cities were not dense. But the new LIDAR data suggests that they developed huge populations in urban settings similar to the early metropolises of China and Rome. A complex, humming urban landscape is “no longer seen as impossible for the Maya,” Estrada-Belli said.

The team mapped a total of 810 square miles (not all of which was contiguous). It paints an entirely different picture of the way Mayans used their land. One could say that Mayans were extreme geoengineers—they drained wetlands and built terraces on hillsides and dug irrigation channels almost everywhere.

“They were not only good mathematicians and astronomers, but they were also very good engineers of their environment,” Estrada-Belli said. “Everything was done with a purpose, and every inch of the ground has been manipulated in some form. The amount of investment is unprecedented.”

And that, maybe more so than the knowledge of the Mayan civilization’s scale, could be a radical shift in our sense of history. Through these techniques, the Maya were able to preserve soils and control the flow of water in a way that maintained the soil’s richness. They withstood droughts and other natural disasters as a result. Could it be that we might rule out climate disaster as the culprit in Mayan cities’ mysterious decline?

“We’re going to have to rethink our ideas about how they were not good stewards of the environment and therefore they might have caused their own collapse,” Estrada-Belli said.

Canuto says all civilizations share one trait: that they eventually decline and crumble. What we could be seeing in this new data, then, are lessons—evidence of infrastructural blunders, say. “Perhaps all of this manipulation and intensification was in an attempt to extend, expand, and maintain something that was, in the long-term, not sustainable,” Canuto said.

Estrada-Belli noted one theory that hasn’t received much traction, but which could become more plausible with this new data: These robust changes in the northern part of Mayan territory—trade routes, canals, and so on—may have starved the southern cities of resources. Ultimately, they were the first to die.

“It could have made the south irrelevant,” he said.

***

Psychiatry’s biggest breakthrough in decades might come from machines that don’t need to understand the mind at all. Our friends at NEO.LIFE reported a story on the potentially groundbreaking new field of computational psychiatry. Don’t miss it.

Also, if you like NOVA Lens, you might want to subscribe to NEO.LIFE, a new online magazine about the neobiological revolution. Started by one of the founders of WIRED, NEO.LIFE explores the most groundbreaking developments in brain mapping, genome sequencing, microbiome decoding, and more. Subscribe to their email newsletter here.

***

On Tuesday, SpaceX successfully launched the world’s most powerful rocket. PBS NewsHour science correspondent Miles O’Brien talked with NewsHour’s John Yang about this historic moment in an interview, which you can listen to here. NOVA’s own senior producer, Chris Schmidt, wrote a piece on the mission. Here’s an excerpt:

It’s worth noting that three years ago, when SpaceX attempted a similar landing on a drone ship, the world still hailed the near-miraculous near miss. Yesterday’s failed attempted drone ship landing was far more difficult.

The Falcon Heavy could usher in a new era in space exploration—and a new space race. While NASA explores like no other agency, in the 50 years since the first moon landing, it has not matched that singular achievement. The Falcon Heavy not only spurs NASA to complete SLS, but it also gives the agency another option to send humans to the Moon and beyond.

For now, though, consider the firsts that today’s launch embodies. Just a few years ago, SpaceX was the first to fly a reusable, tail-landing rocket that can deliver a satellite or replenish the space station. Now they have successfully flown a rocket capable of taking humans beyond Earth orbit, a system that is totally reusable. In fact, SpaceX is the first to attempt such a thing.

—Chris Schmidt, NOVA senior producer

WHAT’S ON YOUR MIND

In response to our post last week of the NOVA Lens newsletter on Cape Town’s water crisis, Gary Clatt wrote:

Thanks, Gary! You’re smart to think of overpopulation as a concern. This issue is a bit nuanced! Certainly increased urbanization is hard on cities that have limitations when it comes to water and other resources. However, population growth as a whole plays only a small role in the climate situation altogether. Here’s an article from Vox that might interest you.

WHAT’S ON OUR MIND

NOVA’s Education and Outreach Manager, Ralph Bouquet, offers this salute to Black History Month:

Last year, I created a Twitter thread of 28 black scientists who made contributions to a variety of scientific disciplines—from designing the first moon-based space observatory to creating treatments for leprosy. There were common themes in many of their stories. Many of the scientists were barred from attending top university and research institutions, forced to take entry-level jobs despite their education and experience, and many died without their contributions to science being fully acknowledged and celebrated.

Despite the narrative that we often hear of brave individuals successfully overcoming racism and segregation, the reality is that they accomplished what they did despite the combination of systemic and social barriers that hampered every aspect of their work and personal lives.

Alice Ball’s treatment for leprosy was credited to a white chemist for over 80 years, Charles Drew organized the first large-scale blood bank and then resigned when he was told that black people were excluded from donating blood, and Percy Julian had to go overseas to complete his PhD in chemistry after Harvard would not allow him to teach white students. And for every one of these success stories, there were so many others with similar talents and passion who never even got a chance to begin their scholarly pursuits.

Where would we be now if there were more Patricia Baths, and Jane C. Wrights, and William Hintons? Black History Month is an opportunity to reflect on the stories and achievements that are often left uncelebrated in science, but it should also remind us that many of the traditional narratives of who “does” science were largely shaped by the deliberate and systemic exclusion of many groups of people.

—Ralph Bouquet, NOVA Education and Outreach Manager

Patricia Bath helped pioneer the use of lasers to treat cataracts. Follow us on Instagram @novapbs to learn about more black scientists who made a difference.

***

We’ve got bitcoin on the brain at NOVA. If you’re as confused about it as I’ve been, this explainer video (plus its follow-up on blockchains) might help:

Like this? Check out this fascinating article in The New York Times about cryptocurrencies in Puerto Rico.

An asteroid plans on passing between the Earth and the Moon today at around 5:30 pm Eastern. You don’t really have to worry, but do note that this chunk of rock will come five times closer to us than the Moon, and it might be larger than the asteroid that entered the atmosphere over Chelyabinsk, Russia five years ago. Here’s a visual:

Here’s what the asteroid’s path looks like.

By the way, if you got the link to this newsletter elsewhere, subscribe here (select “NOVA Newsletters”) and check out last week’s edition.

See you next week,

Allison and the NOVA team

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caveartfair · 7 years ago

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The 15 New York Shows You Need to See This October

Here, we spotlight 15 of the exhibitions that we’re most excited to see this month, from the first museum solo show of Toyin Ojih Odutola to the New Museum’s intergenerational exploration of gender, to a mad retrospective from a former New Yorker now based in Bali.

“Fictions” at the Studio Museum in Harlem

Sep. 14–Jan. 7 • 144 West 125th Street

Installation shot of Genevieve Gaignard's work in "Fictions" at the Studio Museum. Courtesy of the Studio Museum.

“Fictions” is the fifth iteration of the “F” series, initiated by the Studio Museum in Harlem director Thelma Golden in 2001 as a way of demonstrating the museum’s commitment to showing and supporting the careers of artists of African descent working in the United States. This year’s edition highlights 19 emerging black artists, including Genevieve Gaignard, Allison Janae Hamilton, and Paul Stephen Benjamin, who present their own narratives—from video installations to paintings—that respond in poetic and powerful ways to the current political climate. —CL

Toyin Ojih Odutola at the Whitney

Oct. 20 • 99 Gansevoort Street

Toyin Ojih Odutola, Representatives of State, 2016-17. ©Toyin Ojih Odutola. Courtesy of the artist and Jack Shainman Gallery, New York.

Toyin Ojih Odutola, Wall of Ambassadors, 2017. ©Toyin Ojih Odutola. Courtesy of the artist and Jack Shainman Gallery, New York.

In her first solo museum show, “To Wander Determined,” Ojih Odutola presents recent work that traces a fictional narrative surrounding two aristocratic Nigerian families. The Nigerian-born, New York-based artist is known for her distinctive figurative works—from paintings to charcoal and ink drawings—that deftly depict the complexities of skin color. —CL

Ashley Bickerton at FLAG Art Foundation

Sep. 23–Dec. 16 • 545 West 25th Street, 9th Floor

Installation image of Ashley Bickerton, The FLAG Art Foundation, 2017. Photography courtesy Steven Probert.

In Bickerton’s 1998 painting The Vlaminkos, we’re introduced to three characters. Laxmi is chain smoking, listening to a Walkman, and playing a Game Boy. Sally is blissful, posing in a half lotus position, entirely nude. Meanwhile, Roger is bound and trussed, wearing a Nazi armband and a Donald Duck mask. It’s one of the more incendiary moments in the bold career surveyed here, a lurid brain-purge from an artist who, once a New York star, now indulges his wildest fantasies in Bali. —SI

Nicolas Party at Karma and Gallery Met

Karma: Sep. 24–Nov. 5 • 188 East 2nd Street

Gallery Met: Sep. 26–Dec. 2 • Metropolitan Opera, Lincoln Center

Nicolas Party, Portrait, 2017. Photo by Thomas Müller. Courtesy of the artist and Karma, New York.

Nicolas Party, Sunset, 2017. Photo by Thomas Müller. Courtesy of the artist and Karma, New York.

The Swiss artist’s pastel murals and paintings, done in a graphic style with crisp edges and soft textures, are often inspired by art historical greats. Party is currently featured in two New York venues: At Karma, he presents signature works, like portraits of stoic human figures, magical landscapes, or still lifes of ripe fruit, while at Gallery Met, he presents an encompassing installation, titled “Dinner for 24 Sheep,” which is inspired by the opera now premiering, Thomas Adès’s The Exterminating Angel (which includes live sheep on stage). —CL

Yayoi Kusama at the Judd Foundation

Sep. 23–Dec. 9 • 101 Spring Street

Yayoi Kusama, INFINITY-NETS [AAKN], 2016. © Yayoi Kusama. Courtesy of David Zwirner, New York; Ota Fine Arts, Tokyo / Singapore; Victoria Miro, London; YAYOI KUSAMA Inc.

It might come as news that the Japanese artist and the American Minimalist were close friends in New York, approving of each other’s respective work, writing letters, and trading art. As we recently reported, Judd and Kusama even collaborated together, in a sense, on the latter’s surreal furniture piece, Accumulation No. 1 (1962). The idea behind this new installation of Kusama’s “Infinity Net” paintings at Judd’s former home and studio had been discussed before his death in 1994; over two decades later, it’s a reality. —SI

Judith Bernstein at The Drawing Center

Oct. 13–Feb. 4 • 35 Wooster Street

Judith Bernstein, Cabinet of Horrors, 2017. Courtesy of the artist.

Judith Bernstein, Trump Genie, 2016. Courtesy of the artist.

For five decades, Bernstein has dauntlessly tackled sexism and war through paintings and drawings, often depicting giant penises and personifications of male genitals. In “Cabinet of Horrors,” the artist presents a new, commissioned body of work—including drawings, large-scale murals, and vintage piggy banks—that she began after the election of President Donald Trump last November. The Drawing Center will also be handing out free political buttons designed by the artist. —CL

Katie Stout at R & Company

Sep. 26–Oct. 26 • 82 Franklin Street

Installation view of Katie Stout at R & Company. Courtesy of Joe Kramm/R & Company.

In “Side Dish,” the young Brooklyn-based designer presents a smattering of her playful ceramic lamps—sculptural forms of buoyant female nudes in fiery colors, with gilded lips and nipples. Notable, too, are Stout’s enormous new marble tables, and the custom wallpaper that lines the space, also featuring frolicsome naked ladies in rainbow colors. —CL

William Wegman at Sperone Westwater

Sep. 5–Oct. 28 • 257 Bowery

William Wegman, Twisted Hope, 2001. Courtesy the Artist and Sperone Westwater, New York.

William Wegman, Parcheesi, 1998. Courtesy the Artist and Sperone Westwater, New York.

While his reputation is forever linked to touching, comedic portraits that humanize Weimaraners, Wegman’s career actually contains multitudes: video and conceptual experiments, drawings, and paintings that incorporate collaged postcards. While a handful of recent shows in New York have explored those lesser-known facets, this time it’s all about the dogs, with around three decades of never-before-exhibited 20x24 Polaroids of the artist’s famous canines. —SI

Heidi Hahn at Jack Hanley

Oct. 12–Nov. 12 • 327 Broome Street

Heidi Hahn, The Future is Elsewhere If it Breaks Your Heart) #1, 2017. Courtesy of the artist and Jack Hanley Gallery.

Hahn’s figurative paintings of women typically depict them in soft, wispy brushstrokes, lounging beneath trees, curled up in bed, or reading books. “These paintings are about women and their interior lives,” she says of this show of new work. “These women are almost without history but entirely aware of the part they have had to play in it through art history and through the male gaze.” Hahn conveys the psychological burdens of her subjects, deploying emotional scenes through thoughtful use of color and the physicality of paint. —CL

Claes Oldenburg at Pace

Oct. 13–Nov. 11 • 537 West 24th Street

It’s a big deal when a giant like Oldenburg showcases fresh sculpture after a pause of over a decade. But in some ways, it’s not big at all—in terms of scale, that is. While he’s entered the popular imagination (along with Coosje van Bruggen) for public renderings of massively oversized shuttlecocks and clothespins, “Shelf Life” is intimate, with 15 diorama-style installations of handmade objects. (Also promised: a series of “mouse shopping bags.”) “This new body of work,” notes Pace’s Arne Glimcher in a statement, “with its nostalgia for the past and its optimism for the future, marks the beginning of a new period” for Oldenburg, now 88. —SI

“Trigger: Gender as a Tool and a Weapon” at the New Museum

Sep. 27–Jan. 21 • 235 Bowery

Diamond Stingily, Kaa, 2016 (detail). Courtesy the artist and Queer Thoughts, New York.

Justin Vivian Bond, My Barbie Coloring Book, 2014. Courtesy the artist.

As contentions around social, political, and sexual identity abound, this timely exhibition engages artists who are fostering a more expansive and inclusive understanding of gender in contemporary art and culture at large. Gathering together over 40 artists from various generations—from emerging talent like Diamond Stingily and Sable Elyse Smith to established names like Mickalene Thomas and Simone Leigh—the show rejects a binary understanding of gender, and also considers the critical roles of race, class, sexuality, and disability. —CL

Gilbert & George at Lehmann Maupin

Oct. 12–Dec. 22 • 536 West 22nd Street and 201 Chrystie Street

When is a beard more than just a beard? For the famed, inseparable British performance duo, facial hair gets conceptual in a series of large-scale works. Apparently, their interest was piqued by the hirsute young hipsters in their own London neighborhood. Here, Gilbert & George—clean-shaven in real life—reimagine themselves with psychedelic whiskers that turn into fences, monsters, and fall foliage. —SI

Rachel Rossin at Signal

Sep. 29–Oct. 22 • 260 Johnson Avenue, Brooklyn

Courtesy of Rachel Rossin.

This young New York artist’s forays into virtual reality are stunning and strange (and refreshing, given what can seem like a very male-heavy genre). Here in Bushwick she’ll present new VR work, as well as Plexiglas sculptures (that find her melting and contorting the transparent material), and a series of what Rossin is terming “aquarium computers.” “They’re sealed glass tanks filled with mineral oil, in which active, single-board computer hardware is floating, along with fans, LEDs, and monitors,” explains gallerist Alexander Johns. “Rachel has a voracious curiosity for how things work that extends into the art she makes. It’s exciting to see her apply new technologies to an ongoing process of self-discovery and understanding.” —SI

Graham Collins at The Journal Gallery

Sep. 23–Nov. 4 • 106 North 1st Street, Brooklyn

Installation of Graham Collins at The Journal Gallery. Courtesy of The Journal Gallery.

Collins is a slippery artist. He’s made wood-and-glass assemblages that promote a kind of elegant, battered, monochromatic Minimalism—but when he showed at this Brooklyn gallery two years ago, he presented enormous sculptures made from above-ground swimming pools. This time, we get something completely different: Collins’s latest body of work includes wild, collage-style paintings (pieced together from snippets of other people’s found canvases), and a range of spindly bronze sculptures. —SI

Carolee Schneemann at MoMA PS1

Oct. 22–Mar. 11 • 22-25 Jackson Avenue, Long Island City

Carolee Schneemann, Meat Joy, 1964. Courtesy of MoMA PS1.

Carolee Schneemann, Nude on Tracks, 1962-77. Courtesy of MoMA PS1.

The beloved feminist pioneer will enjoy her first retrospective this October, looking back on a prolific and diverse six-decade career. Schneemann is often popularly associated with her 1975 performance work Interior Scroll—during which she removed a long strip of paper from her vagina while standing naked on a table—but this show will serve to represent the breadth of the artist’s wide-ranging career. Beginning with paintings from the 1950s and assemblages from the ’60s, it highlights innovative video, performance, and installation works through which she dealt with the sexism of art history and taboos around the female body. —CL

from Artsy News

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