#i also had another dream recently that i was on a production stage for a movie and there were replicas of temples and pyramids and building

[everoutoftouch]

I just remembered I had a dream not too long ago that I was at an Emilie Autumn show but it was interactive and there were lots of like tunnels and long hallways you went through.

[pastamansta]

🔥 Tim Burton (him as a person or his aesthetic, your choice!)

"Beetlejuice" (1988) reminds me a lot of another film I watched recently; "Tombstone" (1993). Sold by an aesthetic and a FANTASTIC performance from a side character, audiences were conned into loving a mediocre film. I'm not Lindsey Ellis, so don't expect me to talk about the cartoon.

"Batman" (1989) and its sequel is proof that Burton will not be giving up his aesthetic for God or money. Gotham is heavily disconnected from both the film and its source material, with little reason other than its director. There's a reason no one calls these "Keaton's Batmans," they call them "Burton's Batmans." Jack Nicholson is great as The Joker, but that's no hot take. The hot take is that Devito is too horny as The Penguin, and it makes me uncomfortable for a film that's already so sexual.

"Edward Scissorhands" (1990) is a bitter, bitter film where artist finally meets muse. Not, like, in the plot, but in the production. Depp and Burton were made for eachother... or at least that's what I'm supposed to think. This movie's just too messy, however, and can't decide where its focal point lies and leaves me wishing I had just watched "How the Grinch Stole Christmas" (2000) instead.

"Sleepy Hollow" (1999) leaves me, a fan of the original text, I know that's probably a weird thing to say, miffed, even if understanding. Outside of some pacing issues, it's a bold reimagining that feels like Burton attempting to get out of his comfort zone... but I just didn't need this story to be turned into an homage to B-horror. Go watch that Disney short, eh?

"Big Fish" (2003) is his best film. I am hardly qualified to speak on it, and even if I did, I would cry. So, you know, just go watch that shit.

"Charlie and the Chocolate Factory" (2005) is destined to be compared to "Willy Wonka & the Chocolate Factory" (1971), and why wouldn't it? In thirty-four years since the making of the original, not a single person worth listening to said "i need this done right," including Burton himself, which is why he tries to add so much, but no amount of additions changes the fact that he casted his muse instead of someone who could, you know, act like Wonka? So, you know, destined for failure and to be loved by everyone who won't watch movies made before 1987.

"Corpse Bride" (2005) is one of only two claymation films that Burton would actually direct, and he uses this time to steal a Jewish story and make it less Jewish. I don't like the ending or the songs and it feels like it could be cut in half and achieve the same effect.

"Sweeney Todd: The Demon Barber of Fleet Street" (2007) literally doesn't have the iconic opening number from the stage play??? Overall, there's rarely a pairing of source material and director that works as well as this one... If only I enjoyed the source material, eh? So dark, so bitter, so edgy, so... nothing. I never think about this movie. When I do, I think of Mrs. Lovett's dream sequence and remember the good old days of "Big Fish" (2003) when Burton liked to use color.

"Alice in Wonderland" (2010) is one of my guiltiest pleasures in all of film. It is the reason why every time Disney announces a live-action remake, my ears perk up. If all of them were as wild, unhinged, original, creative, and inspired as this one... Well, I think Disney might not be fucking bleeding money right now. No one ever even mentions that it's a sequel to the original animated film. A SEQUEL, not a remake. Sometime movie-goers surprise me with how little they think.

"Frankenweenie" (2012) blows. I don't care how unique it is, I do not like it.

"Miss Peregrine's Home for Peculiar Children" (2016) is one of the funniest remnants of the teen dystopia genre. Like, it hardly applies, but is trying SO HARD that it's unbelievable. Also, props to Mr. "Black People Aren't My Aesthetic" for casting Samuel L. Jackson as a dude who eats white babies. (I do not mean that.) Seriously, this is proof that Burton, as a modern director, should no longer be taken seriously.

"Dumbo" (2019) is AAHAHAHAHAHAHAAAAAHAHAAAAHAHAHAHA I FUCKING HATE THIS DUDE HOLY SHIT

If I didn't mention, I haven't seen it. Yes, I know I skipped some big ones. I may watch them one day, but I am in no rush.

[hrts4hanniehae]

Kpop Self Insert Oc || the beginning

hi guys... have this while I rewrite my smau chpt for the 3rd time... tumblr hates me fr

12 Jan 2022 - The beginning

Soyeon~  Good evening everyone. Today we are debuting our first album, “Oneriophilia”. The title track is “Star Child” and it is written for the children who feel like they never belonged. Our message is that the stars shine for you.

12 January 2022. The debut of Oneiria. The revelation of the nation’s hidden gems.

Host~  Oneiria is Pledis Entertainment’s newest K-pop band. They are one of the only coed K-pop bands out there, with their leader being Kim Soyeon, who I have here with me today.

A new chapter in the world of K-pop was born. On January 12, 2022, Oneiria emerged onto the K-pop stage with a debut that would capture hearts and shatter boundaries. Their very first album, “Oneriophilia,�� took the world by storm.

9 Mar 2022 - 1st Live concert~ Oneriophilia 

Jisoo~  Thank you for all the love! I hope you enjoyed the concert!

Jiho~  Have a safe trip home!

Minseok~  Hope you enjoyed the concert.

Soyeon~  Thanks for coming. We are Oneiria.

The crowd cheers as Oneiria disappears backstage.

17 Mar 2022 - 1st Interview~ Getting to know Oneiria

Interviewer~ Congratulations on the success of your debut album, “Oneirophilia”. Can you share with us what inspired your debut album’s concept and title track, “Star Child”?

Jisoo~ I was bullied in junior high and I always felt like I didn’t belong. But luckily I had my sister. I produced the songs in this album for the kids who didn’t have anyone by their side to know that we, Oneiria, are by their side. 

Interviewer~ How has the journey been for Oneiria since your debut? What have been the most memorable moments so far?

Soyeon~ It wasn’t easy. Jisoo and I… our parents disapproved of us becoming idols. They wanted me to become a lawyer, and him a doctor. 

Jisoo~ Fortunately, Soyeon-noona managed to convince them.

Minseok~ Noona also went to help me negotiate with my parents to let me pursue this dream. It’s thanks to her that Oneiria exists.

Interviewer~ Can you tell us about your experience performing your first concert? What was the energy like, and how did it feel to see your fans in the audience?

Jiho~ I never expected to be so… loved by fans. I thought we’d be dancing and performing in silence, but our fanbase is huge! It was truly amazing.

Jisoo~ When they told us our concert sold out completely, I almost broke down.

Interviewer~ Ahhh how emotional! You’ve recently released “Star Child,” which won an award. How did you feel when you heard about the award, and what did it mean to you as a group?

Soyeon~ Jisoo cried. Minseok cried. Jiho screamed. Our hard work all truly paid off. 

Interviewer~ That’s great to hear! Let’s talk about your stage names. What made you choose the stage names Astra, Mirage, and the others, and how do they relate to your individual personalities?

Jisoo~ Astra was the name of my toy lion when I was growing up. It sounded cute so I went with it.

Minseok~ Mirage was cool. I’m a genius for coming up with that

Jiho~ No he used a random name generator.

Interviewer~ [laughs] Kim Jisoo, you’re also involved in production. Can you share your creative process when working on music for Oneiria.

Jisoo~ I just come up with melodies and save them into my phone. When I feel like writing a song, I just choose one and expand it. I have over 40 tunes on my phone right now.  

Interviewer~ That’s amazing… Park Jiho, tell us about the training and hard work that goes into perfecting your dance moves.

Jiho~ My uncle was a dance teacher so he taught me everything I know. I’ve always loved dancing and hard work and dedication are what shaped me into the dancer I am today. There’s no easy way to do things. 

Interviewer~ Each of you has a unique role in the group. If you had to switch roles with another member for a day, who would it be, and why?

Jisoo~ Soyeon-noona. I want to take the weight of everything off her shoulders for once. She’s always so selfless but that’s also her flaw. I want her to know that her younger brothers are always here for her. [Park Jiho & Park Minseok nod in agreement and Soyeon smiles sadly.]

Interviewer~ Fans are often curious about your music tastes. Who’s your favourite K-pop group, and who's your bias there?

Soyeon~ My favourite K-pop group will probably be Seventeen. My bias there is… [Looks to their manager for permission] Dino-sunbaenim.

Interviewer~ Oh really? Dino, your senior in Pledis Entertainment?

Soyeon~ I admire his dancing abilities. Out of the members of Oneiria, I’m the worst dancer. 

Jiho~ She also likes his scenes in the ‘Rock with You’ MV. [Teasing]

Jisoo~ Woozi-hyung is also my idol.

Interviewer~ It’s great to hear that you’re fans of Seventeen and that you admire Dino’s dancing skills, Soyeon. You all seem to have a deep appreciation for their work. Speaking of, Soyeon, I can’t help but notice that you mentioned Dino’s scenes in music videos. Is there a particular reason those scenes stand out to you? Could there be more to this admiration than just dance skills?

Soyeon~ [Slightly flustered, with a warm smile] Oh, well, you know, it’s just... Dino-sunbaenim is incredibly talented, and I find his dancing and stage presence captivating. There’s no deeper meaning to it. [She laughs] We’re just colleagues in the same entertainment family, after all.

Interviewer~ Is that so? Well, how would you feel if I asked Dino about you in their upcoming interview?

Soyeon~ [laughs] We’re in the same company but I doubt he’d know who I am. We’re a group that’s just starting. I’d be surprised if he knew us. 

24 Mar 2022 - Seventeen’s follow-up interview

Interviewer~ Speaking of fans, Dino, do you know you’ve got one special fan in Oneiria? 

Dino~ I do?

Interviewer~ It’s none other than Soyeon, the leader of Oneiria, herself! Let’s watch this clip from our recent interview.

The other members begin to tease Dino. The clip plays.

Dino~ [Slightly flustered, smiles bashfully] Well, that’s unexpected, but it’s nice to hear such kind words. [Clears throat] Soyeon-hoobae, I appreciate your support, and I admire your work too. It’s all about artists encouraging each other, right?

Mingyu~  [Grinning mischievously] Oh, Dino, it seems you’ve got a fan in Oneiria!

Scoups~ [Teasing] Our Dino’s a heartthrob now! Who would’ve thought?

Wonwoo~ [Playfully] Dino, do you have any favourite moments from Oneiria's songs?

Dino~ [Still blushing] Uhm, well, I think “Serenades” is a great song. Their debut album was fantastic.

Hoshi~ [Smirking] You can’t forget that dance practice video they did. I saw you watching that, Dino-ya.

DK~ [Joining in] Yeah, Dino-ya, you were really into that video!

Dino~ [Flustered and chuckling] Hyung, it was just a good dance practice, that’s all!

Seungkwan~ [Teasing relentlessly] It sounds like someone’s got a new favourite group!

The8~ [Teasing] I think Dino is turning into a Star Sailor.

Jun~ [Chuckling] It’s always nice to know that fellow artists appreciate your work.

The8~ Dino, will you show off your dance moves to her?

Joshua~ [Laughs] I'm sure they’d love to see that!

Dino~ [Blushing deeper] Hyung! Let’s focus on the interview!

Jeonghan~ [Winks at Dino] Don't worry, Dino, we’ll make sure to let them know you’re a fan of Oneiria’s music.

Seungkwan~ [Teasing] We’re all watching for those future dance collaborations!

Dino~ Please stop…

tags! @fairyofhour @megseungmin @sun-daddy-yoriichi @woozixo @euphoric-univers @christinewithluv @haowonbins @ocyeanicc @asyre @cynthiaaax13 @superhoshisvt @bangantokchy @chimmy-bts @angelarin @daisawa @writingbarnes @jeonghansshitester

@belladaises @wonwootakemyheart @wonwooz1 @luchiet @kookssecret @caratsland @peachescreamandcrumble @thepoopdokyeomtouched @isabellah29 @leah-rose03 @yandere-stories @coupshour @heesbees @hamji-hae @hyuckxtagram

[scotianostra]

Happy birthday Scottish actor Jimmy Yuill, born March 6th 1956 in Golspie, Sutherland.

Yuill is another of those Scottish actors that has been in an abundance of shows, and will be known, but not as a household name.Fans of the Crime drama series Wycliffe will know him best as DI Doug Kersey, in almost every episode, I will come back to that later.

Known mainly as an actor on the stage Jimmy began in 1976 in The Jesuit at the Traverse Theatre, Edinburgh. After, as he put it “some joyous years” working on new plays and classics countrywide he joined the Royal Shakespeare Company (RSC) in 1983, as Snug in ‘A Midsummer Night’s Dream’ and ended his time there, in 1987, as Young Wackford Squeers in Nicholas Nickleby on Broadway.

In 1988 he joined Kenneth Branagh’s Renaissance Theatre Company for Much Ado About Nothing, As You Like It and Hamlet directed by Judi Dench, Geraldine McEwan and Derek Jacobi, respectively. Also for RTC, Sicinius (Coriolanus); Telygin (Uncle Vanya) and Kent in Richard Brier’s ‘King Lear’.

Other roles include Toby Belch in Twelfth Night and as Henry IV parts1&2 at the Bristol Old Vic; In 2013 Jimmy played Banquo in ‘Macbeth’ at the Manchester International Festival and the following year at the Park Avenue Armory, New York. Most recently Jimmy played the Old Shepherd in The Winters Tale at the Garrick Theatre in London’s West End – both productions directed by Rob Ashford and Kenneth Branagh.

Jimmy Yuill, while always being busy treading the boards, has also found plenty time to appear in many TV shows, they include, in the 70’s The Mackinnons, The Omega Factor and the TV film A Sense of Freedom. in the 1980’s Eurocops and Boon and the 90’s mainly in Hamish Macbeth as Lachlan McCrae and the aforementioned Wycliffe. Into the new millennium he is a s busy as ever in the mini-series Monsignor Renard, A Touch of Frost and a recurring role in 14 episodes of Eastenders as Victor Brown an old frien of Ian Beales. Jimmy also appeared in several episodes of The Bill as D.S. Cottrell.

Yuill has had a longstanding friendship with Kenneth Branagh and has appeared in some of the Irish actor/directors films, including, Much Ado About Nothing, Frankenstien and As You Like It.

I said I would return to Wycliffe, where Jimmy starred in all but two episodes. The series was cancelled after that because Jack Shepherd, who played Wycliffe, refused to continue in the title role when the producers had sacked Yuill “for insurance reasons” after he contracted life-threatening meningitis during filming, and then would not reinstate him even though he made a full recovery. He says he owes his life to Shepherd with whom he was sharing a house while on location, and who rushed him to hospital in the middle of the night. Shepherd and the rest of the cast and crew felt so betrayed that they decided not to make any more episodes once filming of the current series had finished.

Along with Richard Briers he is one of only two actors other than Branagh himself, to appear in all five Shakespearean films that Branagh has directed: Yuill has worked as a performance consultant on a number of productions, and also as a producer.

More recently Jimmy has been in the movies Artemis Fowl , Kindred and my pick The Road Dance, which is set in The Outer Hebrides just before World War One. He also popped up in the Scottish dark comedy series Guilt, There are no pdates on his work in the past three years

[miasiegert]

I have a question about Cats costumes! I've been wondering, what's up with the tails? They usually looks to be tied around the waist that really disrupts the fur patterns and doesn't look that good to me compared to if they were attached to the back. Is there a reason for that? I also know Misto changes his tail for his number to be able to dance. Is there other such costumes? It's all so interesting to me!

Excellent questions re:tails!

It's a mixture of aesthetic and safety with the tails (aesthetic is the way they match the warmers so there's cohesion and suspension of disbelief), and some for practicality as another safety in case the lycra tears so there's no fallen tail since there's a lot of weight to them, way more than one would think. Tails also throw the actors off-balance so they have to rehearse in tails right from the beginning for their safety! If attached directly to the back, the actors wouldn't be able to adjust them if there was a problem or center of gravity changes, which could be incredibly dangerous.

We have a tail loop on ours keeping it in place to not slide around and hold it up. The knot on the tail belt is a second safety to keep it up. If either break, the alternate keeps it there. Actors choose where to tie it, front, side, etc, usually female characters wear the belt higher, male characters lower.

For the change of tails, it's basically whether the costume changes. So Misto has a new tail, Hench Cats, Macavity, Jenny's Gumbie suit (some do NOT have tails for this but our design does), Bustopher (different design though). Mungo and Rumple use the same tails but have to move them around their song pieces (again for safety but same principle).

I will try to take pics later if I remember--tech is always chaotic so I forget a lot of things and I've got SO many shoes to paint since right after I finished, many other cast members decided they'd love their shoes to be painted as well (very respectfully asking if I was able to!)

Safety always is our number one priority when it comes to CATS, or anything. Accidents do happen, which are scary, so we take our job very seriously, and fortunately since David was a dancer and we're friends with so many dancers, we know what to look out for to maximize safety. We also consult with every single actor at their fittings and throughout the time we're with a production (if in person) or via email with their costume department (if we ship it out).

Most recently, I had to do a lot of study and work with an actor who has rhinestones on his shoes as he doesn't just dance but he tumbles too. I needed to film him with the blocking to see where the sparkles were/which rhinestones were visible, take a lot of photos, feel his feet/ankles while he wore them, then film basically on the stage/hands and knees, just his feet as he danced so I could review the footage and see if I missed anything. Although I wanted to do fully encrusted sparkly shoes for this performer and I think they dreamed of that, I determined it was not safe enough to that extent so I designed something with fewer crystals in what I believed was a more aesthetically pleasing, although sparser, pattern.

Hope this was helpful!!!

[hustledimension]

The Cast of The Road to El Dorado

From here

KEVIN KLINE (Tulio) has been honored for his work on the stage and the screen. He won an Academy Award for Best Supporting Actor for his role in the comedy "A Fish Called Wanda." More recently, he was recognized with the IFP’s Gotham Award for "The Ice Storm," and a Golden Globe nomination for "In & Out." He had previously received Golden Globe nominations for his performances in "Dave," "Soapdish" and "Sophie’s Choice."

Kline is a two-time Tony Award winner for his work on Broadway in "The Pirates of Penzance" and Hal Prince’s production of "On the Twentieth Century." He also garnered Drama Desk Awards for both productions.

A graduate of the Juilliard School of Drama, Kline is a founding member of John Houseman’s The Acting Company, with which he made his Broadway debut in Chekov’s "The Three Sisters." His additional theatre credits include "Arms and the Man" and "Loose Ends," both at Circle in the Square; the title role in Chekov’s "Ivanov" at the Lincoln Center Theatre; the title role in the 1986 and 1990 productions of "Hamlet" at New York’s Public Theatre, the latter of which he also directed, both for the stage and again for PBS’ Great Performances series; and the New York Shakespeare Festival presentations of "Richard III," "Henry V," "Much Ado About Nothing" and "Measure For Measure."

Kline made an auspicious feature film debut in Alan Pakula’s "Sophie’s Choice," opposite Meryl Streep. He then joined the ensemble cast of "The Big Chill," which began his long association with writer/director Lawrence Kasdan. They have since collaborated on "Silverado," "I Love You to Death," "Grand Canyon" and "French Kiss." Kline’s other film credits include "A Midsummer Night’s Dream," "Wild Wild West," "Fierce Creatures," the voice of Captain Phoebus in the animated musical "The Hunchback of Notre Dame," "Looking for Richard," "Princess Caraboo," "Chaplin," "Cry Freedom" and the screen version of "The Pirates of Penzance."

KENNETH BRANAGH (Miguel) is an award-winning actor, director, writer and producer. He adapted, directed and starred in 1989’s "Henry V," which brought him dual Academy Award nominations for Best Actor and Best Director and for which he won BAFTA and National Board of Review Awards for Best Director. He was more recently Oscar-nominated for Best Adapted Screenplay for the 1996 release "Hamlet," which he also starred in and directed. Branagh also received a SAG Award nomination for Best Supporting Actor for his role in "Othello," and produced, adapted, directed and starred in "Much Ado About Nothing," which earned an Independent Spirit Award nomination for Best Feature. His upcoming film credits include a musical version of Shakespeare’s "Love’s Labour’s Lost," which he adapted, directed and stars in.

In addition, Branagh directed and starred in "Mary Shelley’s Frankenstein," which he also produced, "Peter’s Friends" and "Dead Again." His other credits as an actor include "Alien Love Triangle," "Wild Wild West," Robert Altman’s "The Gingerbread Man," Woody Allen’s "Celebrity," "The Theory of Flight," "Swing Kids," "A Month in the Country" and "High Season." He also narrated the Oscar-winning documentary "Anne Frank Remembered," and, in 1993, received an Oscar nomination for Best Live Action Short for "Swan Song." That same year, he was honored with the British Academy’s Michael Balcon Award for Outstanding Contribution to Cinema.

Born in Belfast, Northern Ireland, Branagh studied at England’s Royal Academy of Dramatic Arts, and made his professional stage debut in "Another Country." Joining the Royal Shakespeare Company, he was seen in such plays as "Love’s Labour’s Lost," "Hamlet" and "Henry V" before leaving to form his own successful theatre company. His other stage work includes sold-out productions of "Hamlet," "King Lear" and "A Midsummer Night’s Dream."

ROSIE PEREZ (Chel) received an Academy Award nomination and a Golden Globe nomination for her work opposite Jeff Bridges in Peter Weir’s "Fearless." She was discovered by Spike Lee, who cast her in "Do The Right Thing," and she subsequently starred in such films as Ron Shelton’s "White Men Can’t Jump," Jim Jarmusch’s "Night on Earth," Tony Bill’s "Untamed Heart," Andrew Bergman’s "It Could Happen to You," Alexandre Rockwell’s "Somebody to Love," Seth Zvi Rosenfeld’s "A Brother’s Kiss" and Nancy Savoca’s "The 24 Hour Woman," which she also co-produced. She will next be seen starring opposite John Leguizamo in Seth Zvi Rosenfeld’s "King of the Jungle."

Perez began her career as a choreographer for such artists as Bobby Brown, LL Cool J and Diana Ross. She went on to choreograph and direct the Fly Girls on Fox TV’s "In Living Color."

She made her first foray into producing with "Rosie Perez Presents Society’s Ride," which ran as three parts on HBO. She conceived and executive produced "Subway Stories," an anthology of short films by prominent and new directors, which also aired on HBO. Most recently, Perez entered into a unique deal with Artists Television Group (ATG) to develop, star in and executive produce a television comedy series.

ARMAND ASSANTE (Tzekel-Kan) has most recently been recognized for his work in a number of acclaimed network and cable projects. He won an Emmy Award and garnered Golden Globe and SAG Award nominations for his portrayal of John Gotti in the HBO movie "Gotti." He also earned a Golden Globe nomination for his performance as Odysseus in the miniseries "The Odyssey," and both Emmy and Golden Globe nominations for his work in the miniseries "Jack the Ripper." Most recently, Assante starred as the Confederate commander of the first submarine in TNT’s true-life Civil War drama "The Hunley."

On the big screen, Assante received a Golden Globe nomination for his work in Sidney Lumet’s "Q&A," and won a Special Jury Prize at the USA Film Festival for his performance in the title role of "Belizaire, The Cajun." Among his additional film credits are "Striptease," "Judge Dredd," "Trial by Jury," "The Mambo Kings," "Hoffa," "1492: Conquest for Paradise," "The Marrying Man," "I, the Jury," "Little Darlings," "Private Benjamin" and "Paradise Alley."

A native New Yorker, Assante graduated from the American Academy of Dramatic Arts. He made his professional acting debut on the stage in "Why I Went Crazy," under the direction of Joshua Logan. His subsequent stage credits include the Broadway productions of "Boccaccio," "Comedians," "Romeo and Juliet" and "Kingdoms."

EDWARD JAMES OLMOS (The Chief) has received honors for his work in films and on television. He garnered both Academy Award and Golden Globe nominations and won an Independent Spirit Award for his portrayal of inspirational teacher Jaime Escalante in "Stand and Deliver." He more recently earned acclaim for his role in Gregory Nava’s biopic "Selena," in which he starred as the Tejano singer’s father. He had previously worked with Nava in the film "My Family/Mi Familia."

On the small screen, Olmos won a Golden Globe Award and earned an Emmy nomination for his performance in the HBO drama "A Burning Season." He had earlier collected his first Golden Globe for his starring role in the series "Miami Vice." This season, Olmos appears in the recurring role of Judge Mendoza on the new series hit "The West Wing." He has also starred in such longform projects as "Bonanno: A Godfather’s Story," "The Taking of Pelham One, Two, Three," "12 Angry Men," "Hollywood Confidential," "Dead Man’s Walk" and "Menendez: A Killing in Beverly Hills."

Born and raised in Los Angeles, Olmos first gained attention for his performance in the Broadway musical "Zoot Suit," for which he received a Tony Award nomination. He later recreated his role in the film adaptation. His film credits also include "Wolfen," "Blade Runner," and five films for director Robert M. Young: "The Ballad of Gregorio Cortez," "Saving Grace," "Triumph of the Spirit," "Talent for the Game" and "Caught."

In 1992, Olmos made his feature film directorial debut with "American Me," in which he also starred. He also executive produced the award-winning documentary "Lives in Hazard," which addressed gang prevention.

[foodfightnovelization]

Hey there! I found your blog last Wednesday, and I gotta say, it's about time someone showed this misbegotten movie some love! I've also been reading Ziggy Cashmere's ebook Drawing For Nothing, which includes all sorts of old material from the film - and even directs you to an early draft of the script! Awesome-sauce! Aside from that, I want to know your thoughts on the proposed franchise Larry wanted to make out of the movie, including sequels, video games, books, live stage performances, etc.?

Thank you so much! I'm so glad you're enjoying my blog, and yes, Drawing For Nothing is fantastic isn't it? There's a lot more where that came from too, with Ziggy currently working on a documentary called "ROTTEN: Behind The Foodfight" (see my last post for more info on that). It should be coming out very soon, so stay tuned for that! I was fortunate enough to be involved in it, even making a small cameo at one point, and I can't wait for everyone to see the plethora of incredible behind-the-scenes material he's uncovered.

And yes, I read that early draft of the Foodfight! script a while ago and I'll talk about it some more once the documentary is out It's a draft from April 2005 and is VERY similar to the novelization, but there are still a bunch of interesting differences worth discussing. For one, the script includes all the real-world mascot cameos intended to be in the movie (such as M&Ms, Pringles, Oscar Mayer etc.) which were excluded from the novelization presumably due to brand deals not extending to merchandising. This actually leads to some surprising changes in the plot and dialogue, some of which I find incredibly funny, so there'll be a whole lot to talk about!

Anyway, as for my thoughts on the proposed franchise? I think it could've worked, I really do. Not to the extent Larry Kasanoff dreamed of- I don't think there was anyway the proposed "Foodfight! On Ice" show was ever going to happen (there's no way the Brand X soldiers could goosestep in iceskates, come on now). I think that's dreaming too big too soon, the "Disney On Ice" shows didn't happen until Disney had already been making movies for decades. That said, I do think if the production of Foodfight! hadn't been so horribly mismanaged and had come out when it was intended to it would've been somewhat of a hit, and to that end some of the merchandising ideas were really smart. Stuff like the tie-in videogame, children's books, and videogames were just what a lot of movies had back then- this was 2006, every movie had a sidescroller on the GBA and a 3D platformer on the PS2. From what little we've seen of the game it's impossible to know how good it would've been, but those kind of movie tie-ins are usually pretty harmless.

As for the other merchandise, a lot of it WAS released...and I think it's pretty great for what it is! If all of the books, toys etc. had just released alongside the movie as intended, then they'd just seem like exactly what they are - merchandise made to promote a recently released children's film, and there'd be nothing much to discuss about them. They're all only so fascinating because the movie itself came out so badly, and so the merchandise provides a glimpse at what might've been had things gone better. That said, I still desperately want to make a post talking about the Deluxe Sound Storybook at some point, and hopefully I'll get the chance soon.

I don't think Foodfight! ever would've been popular enough to warrant a sequel- I think it would've been like Hoodwinked where some people look back on it fondly but it's largely been forgotten over the years, and I don't think Threshold (the studio who animated Foodfight!) would have ever been the "next Pixar" like Larry Kasanoff thought they'd be either. But maybe in another world, where the production of Foodfight! went as smooth as butter, for a time there'd have been a real Cinnamon Sleuth Cereal with a free Dex Dogtective toy inside. Ten years later someone would make a post on Reddit saying "Hey! Anyone else remember Cinnamon Sleuth?" and a series of pointless arguments about the movie's blatant commercialism would fire up in the comments. And that wouldn't be such a bad legacy to have, right...?

[fanfaire]

　　 ——— ARIA OF ABLUTION ! ———

　　　　　　❝　FAREWELL, happy dreams of the past 　　　　　　the rosiness in my cheeks has already gone pale 　　　　　　the joys, the sorrows soon will end, 　　　　　　the tomb confines all mortals! 　　　　　　do not cry or place flowers at my grave, 　　　　　　do not place a cross with my name to cover these bones! 　　　　　　ah, the misguided desire to smile; 　　　　　　god pardon and accept me.

　　　　　　　　　　　 ♕

lights, camera, curtain! furina has arrived at the liyue harbor lantern festival.

please read below for more information on the details of her being here; i've taken some creative liberty to work her into the occasion as more than just her attending a festival out of curiosity, to provide more potential avenues for interaction!

ENTRER EN SCENE : furina de fontaine.

— it wouldn't be furina if we didn't start with the look. due to her reason for being here, she had a custom tailor, working together with liyuean fashion consultants, put together an attire in which she'll be seen in all public capacities at lantern rite. it's a marriage between liyuean and fontainean designs, and, as furina has heard that it is considered the year of the dragon, has many dragon patterns and motifs inked and embroidered throughout. she also has her hair done up ( its in its long pneuma look ) in a french bun with a few curled loose locks in front, and a gold hairpiece also in the shape of a dragon

— speaking of the reason she's here: furina is preparing for a new production that's made its way through fontaine's social buzz. it's a well-known liyuean opera that's reached international popularity due to a recent manhwa adaptation that took bookstores across teyvat by storm, titled grove of wild boars. fontaine is putting together their own stage adaptation, and furina is serving as a consultant to the director, who, while talented, is still young and inexperienced with the industry. she's here with most of the production crew mostly on research, and the timing just happened to line up with lantern rite. so why not enjoy both!

— though furina will also be busy with production research, she enjoys social and lively atmospheres, and will rarely say no to being approached or introduced to a new experience. she'll most likely be found: around the opera houses and venues; around the nearby areas both urban and wilderness with the production crew; any stand selling sweets; ( occasionally ) squirreled away somewhere quiet and remote to have a moment to decompress

inbox :　open for interactions! dont gotta ask just yeet em in i want to emphasize i'm going to be doing all event interactions as minis with a 250 wc challenge to keep things manageable for myself below are also some specific plot ideas i'm tossing out if you'd like to do something more unique and plotted! please leave a comment with the symbol if you're interested in grabbing a specific plot and i'll get back to you ( it also helps if you leave ur discord if ur comfortable. if not, i'll tumblr dm you )

🍨 after sampling xinyue kiosk's dessert stand, she has to experience the full dining experience at the restaurant herself, especially after learning about its gourmet, luxury service and ambiance! but for a once-archon, for whom attending lavish banquets was once bread and butter, furina finds herself . . . unable to justify the cost of it now, even without chevalmarin's scolding. but she looks so forlorn out there, eyeing the menu. won't you take pity on her?

🐦‍ plenty in the team had told léandre it wouldn't be a good idea to bring his umbrella finches on the trip, but the director-slash-bird-enthusiast simply couldn't bear the thought of leaving his beloved pets behind. and in an unexpected accident, the completely-expected happened — startled by the wild popping of liyue's firecrackers, the birds escaped their cage! all five of them. and you, for one reason or another, have been pulled into helping retrieve them.

💎 while on a walk on some quieter rural roads outside the city, the jade pendant furina had bought earlier in the day suddenly shatters around her wrist. isn't it supposed to be indestructible? —what furina doesn't realize is that jade is meant to ward away evil. only, the evil now fast approaching was far too strong for one measly jade piece to handle.

🕯️ the adepti are such a core part of liyue's cultural shaping and belief system that furina felt the need to visit one of the shrines and pay her respects. only, she can't help but feel that something doesn't sit right about a fake ex-archon offering prayers to a divine being. you catch her in such a rare state of conflict and hesitation, otherwise alone. ( a ruminative, melancholy angled prompt )

🎭 the production crew has secured vip seating for a showing of auspicious dragon and phoenix, performed by the celebrated yun-han opera troupe at heyu tea house: a hard to come by opportunity particularly during lantern rite season when just viewing the traditional masterpiece is said to bring good fortune. only one snag: they need just one more member in their party to qualify for large group price discounts, which they could sorely use given their allotted funds. who'd pass up the chance, right? come attend an opera with furina!

[reluctantjoe]

Mathew Baynton: ‘I’ve never done any Shakespeare – although I’ve played the man himself’

Best known as part of the troupe behind hit TV series Horrible Histories and Ghosts, Mathew Baynton tells Fergus Morgan about returning to the stage – in the RSC’s A Midsummer Night’s Dream – and how his Bottom will be sweet and sincere

Actor and writer Mathew Baynton will be familiar to most from his screen roles – as Deano in Gavin and Stacey, Simon in Peep Show and as lovelorn 19th-century poet Thomas Thorne in BBC One’s much-loved and recently concluded sitcom Ghosts. In fact, television has taken up most of Baynton’s time lately. When he steps on stage as Bottom in the Royal Shakespeare Company’s new production of A Midsummer Night’s Dream later this month, it will be his first theatrical role in more than a decade.

“I never made a conscious decision to do less theatre,” Baynton says. “There has been stuff that never worked out, some near misses that didn’t happen and it ended up being 10 years. I love Shakespeare but I’ve never had the chance to do any, although I’ve played the man himself a couple of times. I have had that Uncle Monty realisation from Withnail and I that I will never play Romeo or Hamlet, but there are loads of great Shakespeare roles that I want to do, such as this one.”

Born in 1980, Baynton grew up in Southend-on-Sea. He was “comedy obsessed” as a child – “I used to have everything from Blackadder to French and Saunders on VHS,” he remembers – then became interested in the physical theatre comedy of troupes such as Peepolykus and Spymonkey. He completed a degree in directing at Rose Bruford College, then travelled to Paris to train at the prestigious Ecole Philippe Gaulier school. 

In 2009, he collaborated with five other comedians – Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard and Ben Willbond – on the CBBC sketch show Horrible Histories. The six of them subsequently formed the collective Them There, and went on to create the series Yonderland and Ghosts. Baynton also co-wrote the 2013 comedy The Wrong Mans with James Corden, and stars in recent blockbuster Wonka as a conniving chocolatier. He lives in London with his wife and children.

“Every influence I’ve ever had is in there somewhere,” Baynton says, when asked about his approach to comedy. “In some ways, though, the older I get, the more I think that being funny is almost innate. It feels like a rarer quality than any other. It is hard to teach someone who has no funny bones to be funny. Ultimately, I just like collaborating in a room with like-minded people, trying to make stuff funnier and better. It feels natural to me. It feels not dissimilar to playing in a band.”

What production made you fall in love with theatre?

I had a wonderful theatre studies teacher called Mr Valencia, who borrowed the school minibus and drove us into London to see shows. He took us to some absolute crackers. One that stands out in particular is Complicité’s The Street of Crocodiles. That blew my mind.

What are you finding inspiring at the moment?

I’m an avid consumer of all kinds of art. I like discovering new things. I don’t get to the theatre as much as I’d like to, though. The most amazing show I saw recently was Accidental Death of an Anarchist starring Daniel Rigby and written by Tom Basden. That was completely inspiring.

What do you wish you could change about the performing arts industry?

Firstly, tickets are way too expensive. Secondly, access to our industries is really difficult. We lose an awful lot of voices that would enrich our industry because they can’t afford a career in the arts.

What is the worst thing that has happened to you on stage?

I can’t think of anything off the top of my head. On television, you can corpse and do another take. On stage, there is that hot panic when you realise you can’t hold on. I don’t think it will matter too much if that happens in A Midsummer Night’s Dream. It would be different if I was playing Macbeth.

What is the best thing that has happened to you on stage?

I’m lucky that I have been able to work with some of my heroes. To pick a recent example, on the first day of shooting for Wonka, I was in a green room at St Paul’s Cathedral with Rowan Atkinson. I was sat there with Blackadder. That was a pinch-me moment.

What role do you really want to play?

There are loads. I’m hungry to do lots of stuff, not just comedy. I’d love to play Malvolio one day. I was asked this question on the red carpet for Wonka, and I said that I would love to play Jack Skellington if they ever did a stage adaptation of the Tim Burton film The Nightmare Before Christmas.

What projects are you involved in at the moment?

I’m playing Bottom with the Royal Shakespeare Company until the end of March. My Bottom does have some similarities to Thomas in Ghosts. I look a lot like him, I suppose, and I’m playing him with sincerity, too. Bottom is just really, really keen on putting on a show and there is something sweet and interesting about that.

A Midsummer Night’s Dream is at the Royal Shakespeare Theatre, Stratford-upon-Avon from January 30 to March 30: rsc.org.uk

[flyingwargle]

mid-year reflection

now that we're more than halfway through the year, just wanted to make a small post about how things have been and will go for the rest of the year (since tumblr is a blog site-ish and i can write blog-ish posts haha)

burnout is real, let me tell you. after the genshin content creator program died back in february, i, along with many other creators, stopped creating regularly. the monthly rewards were a great incentive and the amount received was generous (it was more than one 10-pull, and that's all i can say). i also got tired of genshin but still play regularly out of habit, but when it comes to writing new content or posting a new fic every month, i haven't been able to keep up.

another factor that comes into play is zine participation. i was accepted into seven different zines in the first half of the year and writing for all of them took a lot of time and energy. i decided to retire from zines because i'd rather work on my own writing. all of the zines are at varying stages of creation, preorders, or production, and so far, only one (ad oblivione) has reached me physically.

something else is also my participation in my writing program. it's broadened my perspectives and allowed me to play with different genres and forms that would not be popular in fanfiction, and i'd rather devote more time toward my dream of publication than write fanfic. this is why i've posted more drabbles lately - small, bite-sized ideas that are quick to write. since we have the summer off, i hope to finish off 1 or 2 drafts sitting in my files to post, but it won't be until after the program is finished, along with my zine deadlines, that i can focus on my own writing again.

finally, it's my declining interest in pairings, xiaobedo especially. there was petty drama in the community, which led me to block a bunch of people and mute others. i still love their aesthetic and truly appreciate their parallels (i bought matching prints of them at a convention recently!) but when it comes to writing new content, i don't feel the spark anymore. the ao3 tag was also filled with explicit fics at a time so i stopped checking it regularly. i have an idea for them that i plan to be my last piece of xiaobedo content. it was going to be a fic with art, as part of the rarepair big bang, but my artist partner dropped out and i followed suit. i'll keep the outline, just in case.

come september, i'm starting my librarian program. it's a two-year intensive program so i'll be back to part-time work and full-time school. i'm not sure how much time i'll have to write, but i hope i'll be able to do so during my commutes, mostly drabbles. i'm excited to learn more about lyney, lynette, and freminet and continue writing wanderer and scarameow. i also hope to write more star rail in the future, too. maybe some pokemon, since i was accepted into two pokemon zines.

overall, i've been pulled in many different directions when it comes to my writing and ideas, which often leads me to do write nothing. i haven't had a proper writing break since 2020 after finishing my novel, where i forced myself to not write and do something else (i.e. watch anime and play octopath during the pandemic). maybe i'll do that once my program is over. we'll have to see what the rest of the year will bring <3

[eurovision-revisited]

1996 Oslo - Number 6 - Gina G - "Ooh...Aah...Just A Little Bit"

Gina G is not number 1. The singer and song that perhaps best represent the change that is coming to Eurovision, and where the EBU were hoping to take it, fails to take the prize. Both in Eurovision and in my own ranking. Where did it all go wrong?

The UK's selection competition has been renamed The Great British Song Contest for this year and they also introduced a semi-final to winnow eight songs down to four. Whether that was necessary or not is a decision the producers can look back on and ponder. At least we got to see all eight on screen, as the semi-final was a special episode of Top of the Pops, with the final being the more traditional special.

It didn't really matter anyway because Gina G won easily. The single was released in the UK on the 6th April. It immediately went to number 6 and was in the top 10 for ten consecutive weeks, peaking at number 1 the week after the Eurovision final. It's the last UK entry to go to number 1 in the UK charts. It also was a hit in Gina G's native Australia and even got to number 12 on the US Billboard charts. Given the poor sales that recent Eurovision entries had been having, this is everything Eurovision organisers could possibly dream of.

Yet, even though it finished third in the audio-qualifier, it slipped to eighth. Whether that was because it was in the death slot, or because Gina's vocal were a little off in a couple of places, or because NRK decided that what this day-glo, multicoloured dance spectacular needed was a black-and-white filter, we'll never know. But of course it's still a Eurovision classic.

I don't really need to describe Ooh Aah...Just a Little Bit do I? It's high BPM EDM, synth-heavy, and is possibly the first song in Eurovision history to feature two actual computers on stage given the rule that all instruments involved in the production of the song needed to be present on stage. It's outstandingly contemporary and commercial, sticking out like a sore thumb among the rest of the Eurovision fare, perhaps because the only similar song failed to make it through the audio-qualifier for reasons. The UK has had a track record of trying to push Eurovision's boundaries for a few year up to this point and here they finally succeeded. As it's also from the UK it has the most sexual lyrics that were acceptable, but at least, in this case, the entendre is singular rather than double.

Gina herself was an Aussie DJ, who sang on dance tracks. On moving to the UK she was immediately swept up in the Eurovision swirl, and was on stage in Oslo within a year. After this, she had a succession of UK hit singles and an album. Then she was hit by the music industry bludgeon. Contract wrangles and disputes meant her second album was held back, and she effectively disappeared from the music scene. Way to treat your stars record labels. She did attempt a comeback in the mid 2000s, including another attempt to qualify as the UK Eurovision entry in 2005, but by then it was too late. At least she's always going to be a Eurovision icon thanks to this three minutes.

[fayewonglibrary]

It Was "Not Easy" To Do Make-Up For Faye Wong (2023)

Jiamun Koh Celebrated Hong Kong-based Singaporean make-up artist Zing, who's known for creating unforgettable looks for Faye Wong, Sammi Cheng and Shu Qi, has all the tea to spill about these stars and who they are beneath all that foundation and blush.

In a recent interview with Chinese Youtuber AHA LOLO, Zing recalled how he first got into the beauty industry when he was just 19.

Zing would approach pretty girls at night clubs, asking if they were models and if they could let him do their make-up. He then worked for a Singaporean magazine before moving to Hong Kong in 1992 to chase his dreams.

Zing said he really wanted to be Sandy Lam's make-up artist at that time and his wish came true on his second visit to Hong Kong.

"It was for her concert, though honestly, I didn't do her make-up. All she asked me to do was her foundation and eyebrows, every thing else was done by her and she did such a great job. I picked up a lot of techniques watching her do her own make-up. It was magnificent," he said.

In 1993, Zing became Faye's make-up artist and he created some of her most iconic looks, including the 'sunburnt' look.

He was surprised by how well-received it was at that time as he thought it was just so-so.

He admitted that Faye was quite a challenge to do make-up for. "Beautiful people are not necessarily easy to paint," he said, adding that he had quite a hard time working with her in the early stages.

"It wasn't very successful. At that time I was too obsessed with my techniques and the idea of a "standard" kind of beauty. I was too hung up on doing things as a make-up artist instead of doing them as a person," he professed.

It turned out so bad that Faye said she would "never use [him as a make-up artist] again".

"In the end she still hired me again, right?," he laughed, adding that he and Faye slowly learnt how to work together after that incident.

AHA LOLO couldn't resist getting Zing to spill some tea, like, say, who looks the most different without make-up?

While he initially didn't want to reply the question, Zing eventually said: "Sammi Cheng looks very different. Carina Lau as well."

But no, he wasn't being mean.

"I never met Carina Lau in person before and only saw her with full make-up on in magazines and movies. People said she's gorgeous. I thought she was okay, until I did her make-up for the first time. She came barefaced. Wow, I got a shock. She was so beautiful. I needed to make sure my make-up could enhance her beauty," he said.

Zing said many female stars actually look better without make-up. What he does is to make sure they look better on camera.

Zing eventually became so influential, he even got to dictate whether Heavenly King Leon Lai, who was introduced to him by Faye, should or should not wear make-up for a performance.

Recalling how he told Leon that he had really good skin, and needed no make-up that day, Zing said: "I told him: "You need to trust my judgement, not the products I use. You hired me, not a bunch of cosmetics. Now it's up to me to decide if you need to wear make-up, or how much to use if necessary"."

And he would still get paid even if he decided that Leon didn't need make-up, by the way.

"Of course, the money is for my judgement, that's the real purpose of a make-up artist," he asserted.

Zing also lamented how many celebrities are looking increasingly similar to one another.

He thinks it all started with Fan Bingbing and how great she looks with bright and garish make-up.

"What I mind is everyone trying to look like her, so much so that at some point everyone looked the same. I don't think that was necessary."

He continued: "There was once I saw two huge signboards and two magazine covers. I saw Fan Bingbing and thought she was really gorgeous. Then I saw Angelababy and thought she was so pretty. In the end I realised both were actually Angelababy, she really didn't have to [follow Fan Bingbing]."

——————————————————————

SOURCE: 8DAYS

[sultanaislammow]

I sell zippers in Yiwu and earn 0.001 yuan per piece

In the Internet era, "cactus" absorbs HE Tuber more nutrients, grows rapidly, bursts out with stronger vitality, and writes one oasis legend after another in the new era.

Yiwu, China, is a place where new legends are constantly being staged. There, "Cactus" turned straws, buttons, zippers, toothpicks and other inconspicuous little things into a huge business.

The "second brother" is a "second-generation factory" from Yiwu, and his family runs a zipper business. Once upon a time, his family's zippers were sold abroad and business was booming. Later, due to the impact of the general environment, foreign trade business orders were unstable, coupled with long billing periods and large arrears, the annual sales of zippers declined.

When the "second brother" was almost 30 years old, he took over the zipper factory that his father had founded for nearly 20 years. At that time, he was faced with a "mess" - zipper sales had shrunk significantly, and there were only seven or eight factory employees left.

The factory was on the verge of bankruptcy, but the "second brother" was very resilient and did not choose to close down and change careers. Instead, he "kept this hard work", transformed into domestic trade, and started an e-commerce business.

How to "come back to life"? He thought about innovation. Because he observed that masks were easy to fall off, he designed anti-lost mask ropes made of zippers. Later, he also designed anti-knot ID ropes, anti-knot headphone ropes and other products. Faced with the need for customized zippers for nursing wear merchants, he came up with an invisible zipper solution, winning the trust of customers and an order of 100,000 pieces.

In recent years, "Second Brother" has invested more than 1 million yuan in innovation and obtained more than 30 patents.

But with such a high cost of investment, how much profit can a zipper make? "Second Brother" said that in fact, the cheapest zipper only costs 7 cents, which can make 0.001 yuan.

However, it was such a meager profit that saved this company that was on the verge of bankruptcy. The factory sold 20 million meters of zippers a year, and sales doubled year after year, with annual sales exceeding 10 million yuan...

After the company came back to life, "Second Brother" expanded its production capacity, recruited more than 100 new workers, and the business was booming.

Using small things to make big things happen is the consistent resilience of Yiwu businessmen.

In his opinion, small and micro enterprises will never underestimate a penny.

Now, the "second brother" who is holding on to the family business and helping everyone survive has not only researched the internationally renowned zipper brand YKK, but also has a bigger dream. He wants to turn the small zipper into a brand and become a symbol of quality.

In Yiwu, such cactus-style survival abounds. The profit of a straw is only 0.0008 yuan, a zipper is 0.001 yuan, and 100 toothpicks only make 1 cent... Yiwu bosses have turned these insignificant little things into a big business worth tens or hundreds of millions of yuan.

Yiwu is a city that grows on the market. Here, there are countless examples of getting rich. It is recognized by the United Nations as the World Small Commodity Center, and Yiwu ranks first on the list of China's top 50 richest counties.

This is the energy exerted by cacti.

With fertile soil and sunshine, they will grow brilliantly. Looking up at the stars, countless cacti will eventually become a vast oasis and create miracles.

[india7d]

Meta Launches Threads: A Revolutionary Text-Centric App to Rival Twitter

Meta has introduced Threads, an innovative text-based application designed to compete with Twitter.

This strategic move aims to entice users away from Meta's struggling competitor by offering a platform that closely resembles it. The Loan7d.com had the opportunity to test this new social network shortly after its highly anticipated launch. The question remains: will it fail to impress or pose a real challenge to Elon Musk? To begin with, the debut of Threads unveiled an intuitive and user-friendly experience seamlessly integrated with Instagram. To access the app, I searched for "Threads" in the app store, sifting through several smaller apps with the same name (may they rest in peace) until I found and clicked on Threads by Meta. During the sign-up process, the app prompted me to connect my Instagram account, so I switched from my personal to my professional page. Unfortunately, I won't be revealing my "finsta" here, dear readers. And just like that, I became a Threads user. Signing up for Threads requires integrating an existing Instagram username, meaning that if you don't have an Instagram account, you'll need to create one to join the new Threads platform. This left me contemplating whether I should create a separate Threads account based on my personal Instagram page, but that's a question for another time. For now. In terms of functionality, Threads offers a microblogging experience reminiscent of Twitter. It felt like a surreal blend of Twitter and Instagram, resulting in a more user-friendly creation. Upon opening the app, I discovered buttons to like, repost, reply to, or quote a "thread," along with counters displaying the number of likes and replies a post received. Unlike Twitter's 280-character limit, Threads allows posts of up to 500 characters, accommodating links, photos, and videos up to five minutes long. Using Threads was akin to stepping into a dream where Twitter and Instagram had a more seamless offspring. The feed was sleek and easy to read, although at this early stage, it mainly displayed accounts I hadn't yet followed or cared about. This issue may resolve itself as more people sign up. Unlike Twitter, Threads does not appear to utilize hashtags and lacks a feature that allows users to search for specific text or phrases. It also permits users to share up to 10 photos in a single post, matching Instagram's limit, whereas Twitter allows only four images. While we tested the app in the United States, it is now available on Apple and Google Android app stores in over 100 countries, including Britain, Australia, Canada, and Japan. Questions have been raised regarding a potential clash of cultures between Instagram and this Twitter-like service. How will our curated, photo-based lives harmonize with the freewheeling, meme-heavy, and often unpredictable world of Twitter? So far, it's been strange, unfamiliar—and quite enjoyable. Now, the burning question: Is Threads superior to Twitter? Meta's Twitter clone does feel strikingly similar to the original microblogging platform. The features—likes, retweets, and following—are nearly identical to its well-established predecessor. However, as Twitter has become increasingly clunky and less user-friendly since Elon Musk's involvement, opening an app and being able to seamlessly view and engage with content felt like a breath of fresh air. Threads represents Meta and Mark Zuckerberg's response to users seeking alternatives to Elon Musk's Twitter. In an interview with The Verge, Adam Mosseri, Instagram's head of product, openly stated that the recent turmoil at Twitter had created an opportunity for a new platform. While it pains me, as a tech writer who has extensively covered privacy concerns surrounding Meta, the company's unapologetic copying of competitor apps, and the unchecked power of the tech industry, I must admit that I actually enjoyed using Threads. Given that I already use WhatsApp and Instagram on a daily basis, and possess a nearly dormant Facebook account, do I truly desire to share more of my data with one of the largest tech conglomerates in the world? Concerns arise regarding Meta's increasing power. Like many products under Meta's umbrella, Threads offers an unsettlingly seamless integration with existing products. Creating an account presents the option to follow your existing circle from Instagram. Your followers are likely to receive notifications about your new account and posts, which may encourage them to do the same. Furthermore, there are longstanding privacy issues. Watchdogs have expressed concerns about Threads as Meta seeks to draw even more users into its ecosystem. According to its data privacy disclosure on the App Store, Threads can collect a wide range of personal information, including health, financial data, contacts, browsing history, search history, location data, purchases, and "sensitive information." Due to these concerns, Threads is not yet available in the European Union, where strict data privacy regulations exist. Although the company intends to expand the app to more countries, it cites regulatory uncertainty as the reason for delaying its European launch. Meta has emphasized its commitment to user safety through various measures implemented in the new app, such as enforcing Instagram's community guidelines and providing tools to control mentions and comments.   Read the full article

[daveinediting]

I'm gonna take a quick detour here from dysfunctional workplaces because two things:

One.

I've begun this series of posts in the workplace.

Two.

My own professional story doesn't actually begin in the workplace.

And three.

We were at a concert last night that slapped me in the face about something I already know.

Okay three things.

And the something I already know... is what Charlie Kester, director of the Music & Video Business Program at the Art Institute of Seattle, would not shut up about.

Seriously. He would not. Shut up.

About networking.

He was relentless about this particular lesson and we, as dutiful students, made various sounds of agreement even though the whole thing sounded phony and fake when it came to our prospective relationships within our industries.

Eventually, though, I got it.

And then last night’s concert really tweaked my understanding.

For example, what was the point of me going to college? For sure I didn't have an informed answer neither when I applied nor when I went. It turns out, though, the point was to impress the right person with connections to the real world. 

That would be my advertising campaigns professor, Larry Bowen, by the way, who hooked me up with UW Video that, at the time, was called Instructional Media Services through which nearly all of my professional opportunities arose through the various producers who worked there over the years.

Okay fine. So then what was the point of going to the Art Institute?

Well... it sure seemed like what I should do once I realized the advertising industry was not gonna be a thing for me. In reality, though, the point was to impress one person: my guidance counselor. A woman named Elaine who set me up with specific jobs including the one I had at KOMO TV for five years. Interestingly, the production supervisors at both KOMO and UW Video knew each other because they used to work together which totally worked out for me because I had the one at UW listed as a references when I applied at KOMO.

Yup. Networking. Less, in this case, about what I did as much as it's about the mechanism by which I succeeded without any sort of understanding.

Which brings me to last night's concert in which the lead singers of two of the three bands taking the stage once performed in a band in which our daughter's currently a member. Both lead singers subsequently offered her gigs with their bands after working with her. 

The bass player of the band she's in is also in one of these bands plus, when Linzy put a band together for a New Year's Eve gig last year, he was her first call.

The lead singer of the third band along with the lead singer of one of the other bands were also singers in another band earlier this year whose leader was at last night's gig as well. That band leader recently offered Linzy the opportunity to collaborate on an upcoming album.

Okay so I talked about Linzy and these other vocalists performing with this other band earlier this year. Well, Linzy sang with that band last year, too, and the solo artist who opened for that show was also at last night's show that included a few moments for the two of them to catch up a little. 

Finally, Linzy has a non-acoustic brand she's trying to launch, one that's perfectly doable in the studio given the layers of sound and music involved.

Live, though?

She hasn't figured that out yet. She hasn't determined the audience experience of a show taking place under that brand. The first performer last night, though, has crafted a performance sort of in the ballpark of what she's considering and the performer’s not only offered to work with her on her own brand’s live performance... but also offered her a slot at an upcoming show in June. Her very first performance under the brand she dreamed up.

Yeah, so...

Networking.

Once upon a time, the director at our school wouldn't shut up about it. 

At the time, we humored him.

But.

Yeah. 

He was right.

Because all these connections at last night’s show?

Nearly all were formed because of the college our daughter chose.

And yeah.

She impressed the right people.

😊

[alexzalben]

KEVIN CONROY, PREEMINENT VOICE OF BATMAN, PASSES AWAY AT AGE 66

NEW YORK, NY (November 11, 2022) - Actor Kevin Conroy, the most beloved voice of Batman in the animated history of the character, died Thursday at age 66 after a short battle with cancer.

A noted stage, film and television performer, Conroy rose to unparalleled voice acting fame as the title character of the landmark Batman: The Animated Series (1992-1996). He would establish never-to-be-broken records as the quintessential voice of Batman, bringing the super hero to animated life in nearly 60 different productions, including 15 films – highlighted by the acclaimed Batman: Mask of the Phantasm; 15 animated series, spanning nearly 400 episodes and more than 100 hours of television; as well as two dozen video games. Conroy was also featured as a live-action Bruce Wayne in the Arrowverse’s 2019-2020 “Crisis on Infinite Earths” crossover event.

In recent years, Conroy was a notable fixture on the Con circuit, greeting fans with the same warmth, respect and enthusiasm they reserved for him.

“Kevin was far more than an actor whom I had the pleasure of casting and directing – he was a dear friend for 30+ years whose kindness and generous spirit knew no boundaries,” said Emmy Award winning casting/dialogue director Andrea Romano. “Kevin’s warm heart, delightfully deep laugh and pure love of life will be with me forever.”

“Kevin was perfection,” recalled Mark Hamill, who redefined the Joker playing opposite Conroy’s Batman. “He was one of my favorite people on the planet, and I loved him like a brother. He truly cared for the people around him – his decency shone through everything he did. Every time I saw him or spoke with him, my spirits were elevated.”

Born on November 30, 1955 in Westbury, New York, and raised in Westport, CT, Conroy began establishing himself in the acting community while under the tutelage of John Houseman at The Julliard School – where he studied alongside the likes of Christopher Reeve, Frances Conroy, and his roommate Robin Williams. 

Conroy began his career following his love of the theatre, keeping him on stage in both New York and at the Old Globe Theatre in San Diego. The actor received rave reviews for his starring performances in A Midsummer Night’s Dream at the Public Theater, Eastern Standard on Broadway, Arthur Miller’s The Last Yankee, and in the title role of Hamlet at the 1984 New York Shakespeare Festival. In addition, he performed in films and television – most notably in the mid-1980s when he had recurring roles on Dynasty, Tour of Duty and Ohara; successful runs on soap operas Search for Tomorrow and Another World; and guest roles on popular series like Cheers, Murphy Brown, Spenser: For Hire and Matlock.

But it was his incomparable, nuanced performance as the voice of Batman that put Conroy on the map – and the fans’ radar – when Batman: The Animated Series debuted on September 5, 1992. From that point on, Conroy would forever be linked to the Dark Knight – in TV series like Batman Beyond and Justice League/Justice League Unlimited; films ranging from Batman: the Killing Joke and Batman: Gotham Knight to Batman & Mr. Freeze: SubZero and Batman: Mystery of the Batwoman; and more than two dozen video games.

“Kevin was a brilliant actor,” Hamill said. “For several generations, he has been the definitive Batman. It was one of those perfect scenarios where they got the exact right guy for the exact right part, and the world was better for it. His rhythms and subtleties, tones and delivery – that all also helped inform my performance. He was the ideal partner – it was such a complementary, creative experience. I couldn’t have done it without him. He will always be my Batman.”

“Kevin brought a light with him everywhere,” said Paul Dini, producer of Batman: The Animated Series, “whether in the recording booth giving it his all, or feeding first responders during 9/11, or making sure every fan who ever waited for him had a moment with their Batman. A hero in every sense of the word. Irreplaceable. Eternal.”

Conroy is survived by his husband Vaughn C. Williams, sister Trisha Conroy, and brother Tom Conroy. Memorial services are pending.