#i mean emma kenney is so

[m4ndysk4nkovich]

the way that a&w was written about debbie gallagher like…😨

“i haven’t done a cartwheel since i was nine. i haven’t seen my mother in a long, long time.”

“do you really think i give a damn what i do after years of just hearing them talking?”

“we fuck on the hotel floor. it’s not about having someone to love me anymore, this is the experience of being an american whore.”

“watching teenage diary of a girl wondering what went wrong.”

“i’m a princess, i’m divisive. ask me why, why, why i’m like this.”

“i won’t testify, i already fucked up my story.”

“i don’t care, baby, i already lost my mind.”

i wanna post more shit like this even if people don’t like/reblog it because she is so lana, taylor, and marina (mostly marina) coded

[iangallagherisadeadman]

I like to think that for every scene of the gallaghers siblings interacting and bonding, there's also one of the milkoviches we just didn't get to see

[serotoninzo]

i often see people commenting about Emma Kenney and how she came out to say that emmy rossum wasn't a joy to be around on set and what not;

they say shit like how emma kenney is a brat on shameless and irl and i think that is so strange.

yes, you watched her act in a show, but this doesn't equal to knowing her personally.

you do not know her and she does not know you, how would you know if she is a so called brat?

with that being said, emma kenney is not bad at acting either. the casting directors would have not accepted her if they didn't think she would be good, or shall i say PERFECT; for the role.

and no, just because you dislike her does not mean nobody likes her.

her social media following says otherwise and the multiple blogs that write for her and her character debbie gallagher also prove you wrong.

and yes, so what if emma kenney said positive things about emmy rossum?

a human can be your favourite person to walk this earth but simultaneously be a horrible person.

i do not believe that emmy rossum is abusive, i think it was a financial matter.

i do agree that she one of the reasons shameless was so liked and that she was infact under paid but to take it out on your coworkers, let alone coworkers who are minors?

that's a whole different thing. she did not deserve to be under paid but she was not in the right to act shitty towards the people she works with.

hating on a real person because you dislike their work and portrayal of a fictional character is fucking delusional and downright insane.

like i am truly in shock.

p.s., this post was fuelled by this weird ass tiktok post on my fyp about how emma went on a podcast to talk about her ON SET. experience, so you can probably already see what the comments looked like.

if you can't imagine what the comments were, its just people being ignorant and weird because they are busy dick-riding a character they like a lot vs a character they hate so much that they are willing to go as far as invalidate a person's experience.

[synchronousemma]

11th August: News of another engagement makes the rounds

Read the post and comment on WordPress

Read: Vol. 3, ch. 18; pp. 309–316 (“Time passed on” to “which this comparison produced”).

Context

Robert Martin visits Mr. Knightley in the morning and shares the news of his engagement. Mr. Knightley brings the news to Emma at Hartfield. In the evening, Emma and Mr. Woodhouse go to Randalls, where they meet Jane Fairfax and Frank Churchill.

We know that this occurs a “few” days before the party from London arrives in Highbury (p. 309); two days after Robert Martin proposed (given that he “came down by yesterday’s coach” after proposing in the evening, p. 310); and “five weeks” after Harriet learned of Mr. Knightley’s engagement (vol 3, ch. 18 [54]; p. 313).

Readings and Interpretations

Some News

Soon after he has arrived at Hartfield from London, Knightley sets about telling Emma of Harriet’s engagement. He first makes a failed attempt at getting Emma to ‘read his mind’ (“‘Does nothing occur to you?—Do not you recollect?’”); he then asks if Emma has heard the news from Harriet herself, concluding from Emma’s reaction to the mention of Harriet’s name that “‘you have, I believe, and know the whole’” (p. 309). This latter failed attempt at ‘mind-reading’ gives the lie to the state of perfect openness that Knightley had formerly praised, pointing both to the specifics of Emma’s secrets regarding Harriet and to the general imperfection of “human disclosure”—but it also points up the estrangement that has caused Emma to hear this news from Knightley, not Harriet.

Still mistaking the matter, Knightley tries to avoid the topic of what he assumes will be Emma’s displeasure: “‘Time, you may be very sure, will make one or the other of us think differently; and, in the meanwhile, we need not talk much on the subject’” (p. 310). In part, Knightley’s magnanimity may be due to the fact that this argument is old ground. But some critics also suggest that Knightley has better manners and a more active sense of sympathy at this point in the novel (see Larrow, Kenney).

When she does hear the news, Emma, who has lately mistaken Harriet about the subject of their discourse, half-jokingly suggests that Knightley may have done the same in his conversation with Martin (“‘might not you, in the confusion of so many subjects, mistake him?’” (p. 311)). Juliet McMaster writes that this scene provides an example of “Jane Austen’s consummate artistry in dialogue,” and demonstrates “Emma’s developed sensitivity to other people’s talk” (p. 40):

The two sides [genders] specialize, as they both recognize: women in relationships and “particulars,” men in business, farming, and the general and abstract. When Mr. Knightley tells Emma of Harriet’s engagement to Robert Martin, after her initial disbelief she prods him: “‘Well, now tell me every thing; make this intelligible to me. How, where, when?’” [p. 310]. He responds succinctly, and adds, “Your friend Harriet will make a much longer history when you see her.—She will give you all the minute particulars, which only woman’s language can make interesting.—In our communications [that is, men’s] we deal only in the great.” [ibid] He is being playful, but he means it too. And sure enough, Harriet does later provide “every particular of the evening at Astley’s” when Robert received the encouragement he needed [vol. 3, ch. 19 [55]; p. 317]. And presently Emma proceeds to parody male discourse to Mr. Knightley: “Did you not misunderstand [Robert Martin]?—You were both talking of other things; of business, shows of cattle, or new drills. . . .—It was not Harriet’s hand that he was certain of—it was the dimensions of some famous ox.” [p. 311] How dare she suppose him such a blockhead? he proceeds. It is lovers’ talk, playfully continuing the stimulating opposition that has characterized their relation throughout. And despite the characteristic gender differences, each can enter the discourse of the other to some extent. Emma can convincingly ask her question about the bailiff when keeping the peace in the early family gathering [vol. 1, ch. 12; p. 68]; Mr. Knightley does provide some interesting particulars on Robert Martin’s courtship of Harriet. (p. 39)

To Grow More Worthy

Emma’s and Knightley’s conversation is followed by this controversial set of lines:

The sole grievance and alloy thus removed in the prospect of Harriet’s welfare, she was really in danger of becoming too happy for security.—What had she to wish for? Nothing, but to grow more  worthy of him, whose intentions and judgment had been ever so superior to her own. Nothing, but that the lessons of her past folly might teach her humility and circumspection in future. (p. 313)

Emily Rohrbach writes that, at this point in the novel, “the counterfactual imaginings have been reined in, rendered unthinkable,” and so “the narrator summons the reader’s active participation in imagining the nuances of Emma’s joy in ‘what was to be’”:

With ‘nothing’ to wish for, that ‘nothing’-ness—the qualifications of which only emphasise further its lack of pull—takes all the air out of the counterfactual imagination. The sole imaginable life is the one she has with Mr Knightley of whom she can ‘grow more worthy’. There is nothing to think back on that could pain her: ‘[N]o remembrances, even connected with Mr. Elton […] could impair’ Emma’s enjoyment. Hardly a dramatic turning point anywhere, the plot unfolds as a gradual dissolution of the barriers (rather light ones in retrospect) between Emma and a life without imaginable alternatives, devoid of regret. Emma affords its protagonist a point-of view—a socially and materially privileged one, necessarily—from which choicelessness can appear as the ‘perfect’ form of happiness. (p. 485)

Some readings see the chastening of Emma’s imagination as fitting. Howard Babb writes: “In her advance toward integrity, as the passage suggests, Emma becomes capable of attaching herself to Mr. Knightley and of orienting herself to the real world” (pp. 193–4). Other critics see this close as conservative, melancholy, or otherwise a let-down. Frances Restuccia writes that, “[l]ike Emma, Emma begins to sound pious, preachy, hollow […]. We are informed flatly, didactically, that Emma has been tamed” (p. 464). For Daniel Cottom, the passage illustrates that “[s]hame is essential to the development of the heroine” of an Austen novel,

because it is only through an admission of shame that she can be brought to the attitude of deference demanded by the command of society over desire. All of Austen’s heroines are brought sooner or later to this point of shame at which the heroine takes upon herself responsibility for the enigmatic errancy of social forms and signs. Once this violation is thus accepted as a fault of personal character rather than an instability and partiality in the character of society, the education of desire can proceed along its proper path […]. (p. 166)

Read in this way, Emma “is not a love story in any conventional sense, but rather a lesson in ‘humility and circumspection’ directed to a heroine who had failed to realize that education is […] primarily concerned with the discipline of desire” (ibid.).

Yet this portrait is immediately lightened somewhat by Emma’s “laugh” “in the very midst of her” resolutions (p. 313), and by her “arch[ness]” in speaking to Frank (p. 315). Edgar Shannon argues that “the author, eschewing the temptation to overstate her theme, does not mar the portrait by converting Emma into a long-faced paragon”:

“Serious she was, very serious in her thankfulness” that her past folly had not prevented both herself and Harriet from eventually attaining felicity and in “her resolutions” of “humility and circumspection in future”; but she has not lost her sense of humor. She can admit that if she had been Frank Churchill, she might have found “some amusement” in “taking us all in”—and indeed how can anyone have failed to be entertained by Emma’s deluded antics? She can give herself a “saucy conscious smile” that she no longer feels any sense of injury to Henry as the expectant heir to Donwell Abbey, and finds “amusement detecting the real cause of that violent dislike of Mr. Knightley’s marrying Jane Fairfax, or anybody else, which at the time she had wholly imputed to the amiable solicitude of the sister and aunt” [vol. 3, ch. 15 [51]; p. 295]. She must laugh at Harriet’s vagaries that have persuaded her she was in love with three men during the course of a few months [vol 3, ch. 18 [54]; p. 313]. (pp. 643–4)

We should also recall that amusement has followed Emma’s overweening self-deprecation at other moments in the novel. John Wiltshire writes that Emma’s determination to “grow more worthy” of Mr. Knightley represents her “thinking—vivaciously, but also extravagantly—as usual” (p. 75).

Being Frank

John Mullan reminds us that, “[w]hen Frank meets Emma after the announcement of his engagement, he is smiling and laughing on this ‘most happy day’, but suited, we should realise, all in black”:

We are not told this: Austen’s first readers would have “seen” this garb, and registered the clash of official sorrow and private happiness. The deaths of close kin required a period of full (or “deep”) mourning—in which clothes were predominantly black—followed by an equal period of “second” or “slight” mourning. […] On hearing of Mrs Churchill’s death, Mr Weston shakes his head solemnly while thinking—Austen cannot resist telling us—“that his mourning should be as handsome as possible”. His wife, meanwhile, sits “sighing and moralising over her broad hems”. Austen’s satire is entirely tolerant. (n.p.)

Frank Churchill, effusive now that he need not hide his regard for Jane, gushes about her complexion and states an intention to “‘have some [of his aunt’s jewels] in an ornament for the head’” (p. 315). John Wiltshire argues that this is “a conversation that is designed to be compared with” Mrs. Weston’s and Mr. Knightley’s earlier discussion about Emma’s appearance, in which Mrs. Weston emphasizes Emma’s air of good health (vol. 1, ch. 5; p. 24):

Throughout the novel Frank Churchill has commented on Jane’s pale looks to Emma, often in a snide and critical fashion, but when their engagement is public and Jane has recovered, he is free to enthuse. ‘Did you ever see such a skin?’ he exclaims—’such smoothness! such delicacy! […]. He resumes: [quotes from “Look at her” to “in her dark hair”]. ‘The head’! For the moment Frank seems to be thinking of Jane as an artefact to be decorated and enjoyed as a prestigious possession. Mrs Weston, despite the term 'picture’, is not thinking of Emma as a specular object. (p. 135)

This difference in their viewers’ attitudes is mirrored by the difference in what the two women’s bodies seem to signify:

Jane Fairfax is the shadowy background, the obscured antithesis to the heroine […]. Jane’s health is frail, and her beauty, unlike Emma’s, is no assurance of vitality. […] Although she acts and speaks directly in the text, her position within it, her reserve and her secret forbid access to her inner life. What is therefore understood of her is constructed on the site of her body, her ‘look’, which depending on the observer, can signify either propensity to ill-health or beauty and distinction. In the absence of open speech, Emma, like her neighbours, is perpetually reading Jane’s body. Her prejudice against Jane (and her own abundant health) make her unresponsive to certain aspects of the sensitive and cultivated woman whom she ought to have made her friend, but the proneness to illness, the precariousness of Jane’s condition, is discernible, even though, after her introduction by the narrator in the second volume, Jane is perceived—glimpsed would be a better word—largely through Emma’s eyes. The narrator introduces Jane as an orphan, whose mother died ‘overcome with consumption and grief,’ and it is the fear of TB, ‘the standing apprehension of the family’ that apparently motivates her aunt’s continual fussing (‘Did you remember your tippet?’), Highbury’s neighbourly concern over her walks in the rain, as well as Knightley’s urgent action to prevent her overtaxing herself by singing. […] Consumption was conceptualised as a peculiarly romantic disease, one in which artistic talent fed off and in turn fed, the exorbitancies of feeling, the sudden and irrational changes of mood, characteristic (or so it was thought) of the consumptive’s condition. So early in the century, Jane Austen makes this triad of talent, passion, and illness the substance of this minor theme counterpointing the major of Emma […]. (pp. 135–6)

For Howard Babb, Churchill’s “‘ornament for the head’” speech is damning: “Frank Churchill never loses his tone of fatuous vanity, for in one of his very last speeches, after all has come right between himself and Jane, he can still appear far more interested in celebrating and adorning the beauty he has won than in praising Jane’s merits” (p. 191).1 Similarly, Joseph Wiesenfarth argues that Frank’s incivility and lack of sympathy hold true “to the end of the novel where Jane Fairfax, who tries to be ‘deaf’ to Frank’s reminding Emma of their ‘blunders,’ says that he shamelessly ‘courts’ shame (Ill.xviii.[316]). Jane Austen here drives the last nail into the coffin of COURTSHIP that haunts this novel as a revenant charade” (p. 11).

Footnotes

See also Kirkham (p. 142).

Discussion Questions

Are we to believe that Emma has been ‘reformed’ at this part of the novel? Would such a conclusion be a desirable or an undesirable one?

Has Frank really remained, as some critics claim, unchanged throughout the whole course of the novel? Is his behavior really ‘bad’? What is the ‘moral scale’ of the novel?

Bibliography

Austen, Jane. Emma (Norton Critical Edition). 3rd ed. Ed. Stephen M. Parrish. New York: W. W. Norton & Company, [1815] 2000.

Babb, Howard S. “Emma: Fluent Irony and the Pains of Self-Discovery.” In Jane Austen’s Novels: The Fabric of Dialogue. Columbus: Ohio State University Press (1962), pp. 175–202.

Cottom, Daniel. “The Novels of Jane Austen: Attachments and Supplantments.” Novel 14.2 (Winter 1981), pp. 152–67. DOI: 10.2307/1344850.

Kenney, Theresa. “‘And I Am Changed Also’: Mr. Knightley’s Conversion to Amiability,” Persuasions 29 (2007), pp. 110–20.

Kirkham, Margaret. Jane Austen, Feminism and Fiction. London: The Althone Press (1997).

Larrow, Michele. “‘Could He Even Have Seen into Her Heart’: Mr. Knightley’s Development of Sympathy.” Persuasions On-Line 37.1 (Winter 2016).

McMaster, Juliet. “The Critics of Talk in Emma.” Persuasions 38 (2016), pp. 30–40.

Mullan, John. “Ten Questions on Jane Austen.” The Guardian. 18 May, 2012.

Rohrbach, Emily. “‘Without You, I am Nothing’: On the Counterfactual Imagination in Emma.” Textual Practice 32.3, pp. 471–48. DOI: 10.1080/0950236X.2018.1442396.

Shannon, Edgar F. “Emma: Character and Construction.” PMLA 71.4 (September 1956), pp. 637–50. DOI:10.2307/460635.

Wiesenfarth, Joseph. “The Civility of Emma.” Persuasions 18 (1996), pp. 8–23.

Wiltshire, John. “Emma: The Picture of Health.” In Jane Austen and the Body. Cambridge: Cambridge University Press (1992), pp. 110–54. DOI: 10.1017/CBO9780511586248.005.

_____. “Mansfield Park, Emma, Persuasion.” In The Cambridge Companion to Jane Austen, ed. Edward Copeland & Juliet McMaster. Cambridge: Cambridge University Press (1997), pp. 58–83.

[charlieconwayy]

Thoughts on Debbie getting pregnant? She was basically supposed to be the Brain of the family but girl kept getting dumber every season lol

i have such complex feelings on debbie bc i rly did love her the first four seasons. my ~controversial take on the matty/debbie stuff is that matty was 10000% grooming her and i don't see how anyone can think otherwise? how are you gonna tell a 13 year old you'll bang her when she's 16 (still underage, mind you) when you're 20? disgusting. but debbie did r word him. two things can co-exist.

i used to hate the debbie getting pregnant stuff, but i listened to a cast interview with emma kenney recently and she made a great point: debbie has always been nurturing and wanted something to take care of. we even see that all the way in the fourth episode of season one, so yes, it does make sense for her character. but that doesn't mean her lying to derek about protection was okay/right, and like she says to carl when he goes through what derek went through, it is r word. (and i'm gonna be real, if we all collectively agree that mickey shouldn't have to be close to yevgeny bc he was conceived from r word than we shouldn't expect derek to step up and be a dad to franny.) it was also just an incredibly irresponsible dumb decision when she was in school and had no job - didn't even try to get a job while she was pregnant if i am remembering correctly, aside from that one weird nannying situation. fiona had every right to tell her it wasn't the right decision considering they as a family were flat broke and debbie was also flat broke. look how much she struggled in season 7 specifically.

i do like franny tho, she was adorable.

fuck shameless, fuck the writers, fuck production, fuck everyone who tried to market debbie as the "new fiona" when emmy left. such bullshit lmao

[chthonic-cassandra]

For @di-goldene-oygn and anyone else who would like it, have my trauma memoir reader. 

This is a long list, but it is whittled down from the ~250 trauma memoirs I have apparently read, so there are many, many things I did not include. I’ve organized loosely by what type of trauma is the focus of the narrative but this is an imperfect categorization system.

Memoirs of childhood abuse: The Tricky Part - Martin Moran Tiger, Tiger - Margaux Fragoso Where I Stopped - Martha Ramsey I Know Why the Caged Bird Sings - Maya Angelou That Mean Old Yesterday - Stacey Patton Excavation - Wendy Ortiz Skin and Two or Three Things I Know for Sure - Dorothy Allison Goja - Suniti Namjoshi Educated - Tara Westover A Shining Affliction - Annie G. Rogers Heavy - Kiese Laymon The Sound of Gravel - Ruth Wariner Man Alive - Thomas Page McBee The Book of Emma Reyes - Emma Reyes Bad Indians - Deborah A. Miranda The Incest Diary - Anonymous Denial - Jessica Stern Pulling the Chariot of the Sun - Shane McCrae Consent - Vanessa Springora Sex Cult Nun - Faith Jones

Memoirs of adult sexual assault and intimate partner violence: The Other Side - Lacy Johnson Days of a Russian Noblewoman (1758-1821) - Anna Labzina After Silence - Nancy Venable Raine Aftermath - Susan Brison Lucky - Alice Sebold In the Dream House - Carmen Maria Machado Picking Cotton: Our Memoir of Injustice and Redemption - Jennifer Thompson-Cannino and Ronald Cotton When I Hit You; Or, A Portrait of the Writer as a Young Wife - Meena Kandasamy A History of Violence - Édouard Louis On Being Raped - Raymond Douglas South of Forgiveness - Thordis Elva and Tom Stranger Know My Name - Chanel Miller

Memoirs of abduction and captivity: Finding Me - Michelle Knight Hope - Amanda Berry and Gina DeJesus A Stolen Life - Jaycee Dugard 3,096 Days in Captivity - Natascha Kampusch

Memoirs of genocide: At the Mind’s Limits - Jean Améry If This Is a Man, The Reawakening, The Drowned and the Saved - Primo Levi And I Am Afraid of My Dreams - Wanda Poltawska Auschwitz and After - Charlotte Delbo First They Killed My Father - Loung Ung Cockroaches - Scholastique Mukasonga The Last Girl - Nadia Murad Tears of the Desert - Halima Bashir

Memoirs of political violence (torture, detention, exile) and war: Guatánamo Diary - Mohamedou Ould Slahi Witnesses of the Unseen: Seven Years in Guatánamo - Lakhdar Boumediene and Mustafa Ait Idir Journal of an Ordinary Grief - Mahmoud Darwish A Woman in Berlin - Anonymous A Fort of Nine Towers - Qais Akbar Omar Daring to Drive - Manal Al-Sharif A Long Way Gone - Ismael Beah The Blindfold’s Eyes - Dianna Ortiz Asylum Denied - David Ngaruri Kenney Consequence - Eric Fair The Question - Henri Alleg The Little School - Alicia Partnoy Prisoner Without a Name, Cell Without a Number - Jacobo Timerman The Latehomecomer - Kao Kalia Yang

Memoirs of slavery and trafficking: The Interesting Narrative of Olaudo Equiano Twelve Years a Slave - Solomon Northrup Slave - Mende Nazer Incidents in the Life of a Slave Girl - Harriet Jacobs My Life Has a Price - Tina Okpara Barracoon - Cudjo Lewis, transcribed by Zora Neale Hurston

Memoirs of gun violence and/or traumatic grief: Men We Reaped - Jesmyn Ward The Return - Hisham Matar Dear Marcus: A Letter to the Man Who Shot Me - Jerry McGill

[grayhqs]

hello i feel like an absolutely goddamn fool but where . where is the source link for ur gif icons. i am begging. i have clicked everywhere on my screen. please.

i’m losing my mind this ask is so funny know that i love you. also this ask made me realize that i genuinley cant find the source link on the theme i picked so i’m going to. go get a new theme 😭 im so sorry about that i have a smooth brain.

in the mean while, here are links to all of my gif icons so far:

emmy rossum gif icons

emma kenney gif icons

molly gordon gif icons

elise eberle gif icons

edit: ok i changed my theme and update my gif pages! but i’ll keep the links here for u anyways

[askovertherainbowblog]

Do you ever feel like your government is actively working to institute a theocracy right under your very nose, and all anyone can seem to do is tweet? (I’m not knocking the art of the well-placed tweet, by the way. Case and point the account pictured above.)

Here’s what’s going on in my part of the world, which is Alberta (Commonly known as the bible belt of Canada):

The recently elected UCP (United Conservative Party #UnderHisEye) has, by its inaction, effectively canceled a work group dedicated to eradicating the insidious and abusive practice of “reparative” therapy for LGBT+ persons. Minister of Health Tyler Shandro has claimed on twitter that he told the group they were welcome to continue meeting. However, according to Emma Graney of the Edmonton Journal, his office released a statement that “The working group has disbanded with the change in govt.” AKA, they’re pretending the group (which included a survivor of conversion therapy) doesn’t merit focus because conversion therapy/torture “doesn’t happen here.”

If you dig a little deeper, you’ll see this simply isn’t true. Of course, nobody is coming right out and calling their services conversion therapy. That would be bad PR. The practice is couched in the language of soul-searching, healing trauma, and respecting individual faith. Alberta survivor Kevin Schultz was undergoing private faith-based counseling to realign his sexual orientation as late as 2007. Journey Canada, formerly Living Waters, which claims to help folks “experience Jesus in their sexuality” (kinky?) still operates across Canada.

If anyone is in doubt, the Human Rights Campaign and the Canadian Psychology Association can shed light on why conversion therapy/counseling of any kind is deeply damaging and can even be life-threatening.

The previous NDP government at least gave the appearance of caring about the LGBT community. The UCP gives the appearance of wanting to give the appearance of caring. In any case, I kind of wonder, why not just oh I don’t know BAN CONVERSION THERAPY AS IF WE WERE A CIVILIZED 21ST CENTURY SOCIETY? The UCP certainly hasn’t shied away from taking bold action on controversial issues (eg. lowering minimum wage for minors like a bunch of literal cartoon Scrooge McDucks).

This conversion therapy fustercluck is one move in an alarmingly swift series of policy change plans the UCP has begun rolling out since April of this year. They have also pledged to remove key protections afforded to GSA’s (Gay-Straight Alliances, common “safe space” organizations for LGBT students found in secondary schools). This means teachers could, at their own discretion, be permitted to notify parents if their child joins a GSA. This would obviously defeat the whole purpose of GSA’s and put children at greater risk of abuse at home.

When urged to consult experts on why this was such a monumental mistake, and questioned about the purpose of his party’s decision, premier Kenney had this to say:

"I think it would be very rare [for parents to be notified]," Kenney said. "Probably only [when] dealing with very young kids or kids with unique emotional and mental health challenges."

AKA, he has no idea what the repercussions could be and is speaking in “likelihoods” like some kind of fiendish gremlin under a bridge, desperate to grant you three wishes whose loopholes will ruin your life. (PS: Back in 2006 Kenney bragged about working to repeal a spousal law that allowed gay men to visit their dying partners in the hospital during the AIDS crisis. So that’s the attitude we’re dealing with here.)

If you’re curious about what other draconian policies the UCP has lurking just around the corner you can read up on their full platform, which includes such gems as scrapping the carbon tax, pausing the K-12 curriculum review, pushing for more private health care options, and something ominously called the “climate war room.”

If you, like me, are having some serious Handmaid’s Tale flashbacks right now, you’re not being overdramatic. The erosion of minority and women’s rights at the hands of backsliding democracies worldwide is not some fad. It’s a real thing that is happening all around us while shiny apps are being pelted at us as a distraction.

So let’s move on to what can actually be done. Before I list some ideas, I want to cover a few key points. We’re often advised, as constituents of a district or riding, to take action by writing to our political representatives! Here’s why I think that’s a waste of time: the current political climate is extremely polarized. It’s a buzzword because it’s true. If your MLA is conservative, and you write them a letter urging them to see things your bleeding-heart liberal way... well, why would they care? You’re not even a part of the voter base they’re targeting, and they know it. They don’t need your support. Alberta voters skew overwhelmingly right-wing already.

My advice is to follow the money.

A PAC (Political Action Committee) is an organization that pools campaign contributions from members and donates them to campaigns for or against candidates or legislation. Shaping Alberta’s Future is a PAC whose stated aim is to promote a conservative Alberta with Kenney at the helm. In 2018, they raised a whopping $170,000 in two weeks to fund UCP ads. Their financial disclosure documents are pretty lengthy and can be confusing if you don’t know what you’re looking for. That’s why I’ve broken down the info into a list of the major 5-figure contributors, all (you’ll be bowled over with shock to learn) men, most of them members of the Motor Dealership of Alberta for some reason.

For those of us who live in Alberta/Canada, that means we can do the following:

HERE is a link to a form letter addressing major donors to Shaping Alberta’s Future, politely urging them to bring matters of LGBT youth safety to the government’s attention.

HERE is a link to a list of specific donors, their contact information, and contribution amounts. This info can be filled into the indicated sections on the above letter.

Simply print, sign, and mail the letters to the addresses provided. Postage should be fairly inexpensive but if it’s an issue, take a photo of your signed letter and Canada Post receipt and I’ll etransfer you the value of your postage (within reason, guys!). If you can’t access Google drive, I’ll copy the letter to you by whatever method you prefer.

If you’d like to add information to the above list, or offer a correction, please message us or email askovertherainbowblog@gmail.com.

Additional things you can do (from anywhere):

Spreading the word always helps. Set up an email list or reddit thread. If you’re Albertan, print ten extra letters and ask a few friends to sign them. Pride month is just around the corner: bring a sheaf of letters with you to a parade and throw them in the air like confetti. (You’ll probably get some free condoms for your trouble; nice!)

Donations are not possible for everyone but if they’re possible for you, Youthsafe.net has a list of organizations that could use your support.

Stay vigilant. Read full articles covering both sides of the issues you’re investigating, and investigate in turn the veracity of your sources. Read posts from people you don’t agree with and, as infuriating as it is to have your person-hood invalidated by pseudo-scientific doctrine, pause to digest other points of view before formulating a vitriolic response. I’m not advising moderation (fuck moderation) but I am advising strategy.

Pursue local involvement. It’s tough to sit in front of a news cast in rural Canada and watch women in Alabama have their reproductive rights stripped from them, knowing a small donation to the ACLU is probably the most you can do short of upending your life to go on a march, and that won’t even move the needle much. But everyone, everywhere where voting happens, can march into a town hall and make their voice heard when it comes to the bullshit in their own community. The people around you want to get involved; they’re just not sure how to do it. Give them a means and they’ll stand beside you!

xoxo

[welovejessicaszohr]

Jessica Szohr on Shameless, Gossip Girl, and Ed Westwick The actress, best known for playing Vanessa on GG, talks about her new role and more.

She's best known for playing Vanessa, Dan's BFF from Brooklyn, on Gossip Girl — which turned 10 in September—but these days you can catch Jessica Szohr as Nessa, Fiona's new tenant, on Shameless. Here, Szohr talks about her new role, GG, and the recent sexual assault allegations against her former co-star Ed Westwick.

Were you a fan of Shameless before you booked the role?

I was. I had known Jeremy [Allen White, who plays Lip] for years when I was living in New York, so when he booked the pilot, and then when it was picked up, a bunch of us got together and watched it. I watched it for the first couple seasons and then I didn’t stay caught up, and then when I was asked to come in to take the meeting and audition for it, I had called my manager and I’m like, "Do I need to watch these three seasons?" And I was always a big fan—you just know how TV is now. You’ll get into something and if for one second leave it, you go back and you have so much to catch up on. But I was always a fan of it. I think the actors are incredible, I think the writing’s amazing.

Did your manager tell you to catch up? What did you decide to do?

It came up pretty quickly. I ended up watching a few of the episodes from where I had left off, just to kind of get the tone and see where everyone was, and then I went and auditioned and within, like, two days they had offered it to me and I was super excited, and it was such a great season and awesome working with Emmy [Rossum, who plays Fiona]. In this next episode coming up you see that I am introduced a little bit more to the family.

Did the cast do anything to welcome you?

They gave a really nice introduction at the table read. When you come into a show and everyone’s working together, it’s kind of like [you’re] the new kid on the block and everyone knows each other, but they couldn’t have been sweeter or nicer, more professional. When you’re going into something after a couple of seasons, sometimes people tend to get lazy or they’re not as excited or they complain a lot. And I didn’t really get that vibe with this [cast] at all. It felt like they had just got picked up and were so excited to have this job. It was a real blessing to be a part of that and see that and to know that people still worked that way. When I say that, it’s not like all the other projects I’ve done wasn’t that way; this was just a breath of fresh air for me.

How is the Nessa/Fiona relationship going to evolve over the season?

They’re friends and they definitely have a good chemistry. Nessa really helps her out, even if it’s just to be an ear to say, "Hey, what about take this advice or try this?" So they grow a pretty good friendship. Nessa thinks Fiona’s this lovely person and she cracks [her] up and Nessa's girlfriend, Mel, has a bit of a chip on her shoulder, and she kind of stirs the pot a little bit. There’s some interesting things that I know I’m not allowed to say yet that comes up...what Fiona helps us out with and that kind of thing. There’s something interesting that happens that is quite shocking. It’s kind of funny at the same time, but that’s Shameless.

Can you relate to the Gallaghers? I know you’re from a big family yourself.

Yes, I’m the oldest of five. I mean, they have so much going on. Being the oldest of five, we were always like running to sports or running to some school function and on the go, and our house was always where people came for dinner and slept over. Ours was very much an entertaining home, where there was game night with all of our friends and family. So the dynamic of everyone being close and having each other’s backs and being there for each other I can definitely relate to, but my dad wasn’t like Frank. The situation of their relationship with their parents I can’t really relate to. But the things between siblings, and being there or having the disagreements and that kind of thing, for sure.

Did anyone from the cast bring up Gossip Girl to you when first joined?

Yeah, Emma [Kenney], who plays Deb, was like, "Oh my gosh, that was my favorite show." And she was such a sweetheart. So we had a pretty long conversation just about filming that and the different characters and how everyone was off set. And Emmy’s from the Upper East Side, so she was a fan of the show as well. I remember when I booked Gossip Girl and I had to do a little research of New York, because all of us came from L.A. I met a couple of people from the Upper East Side I’m like, "I just need to know, is this remotely close?" And I know that some stuff is for shock value for the audience, but even the bags they would use or having limos drop them off—you know, having so much at your fingertips. So a lot of times people were like, "There are certain things on the show that are a little bit more than what we experience, but a lot of it was dead on," whether it was the fashion or wanting to go to different clubs or events. So I found that interesting, coming from a small town [in Wisconsin] that didn’t even have a Starbucks and everyone knew each other, and my whole family lived within a mile apart. It was a totally different world to be in.

Did you leave the show on good terms? Did you want to leave the show? [Editor's note: Szohr left the show as a series regular in 2011, after its fourth season.]

Yeah! Everyone was so excited and blessed to be a part of that, there was never any hard feelings. When I originally went, I was only supposed to go and do three episodes. So on the third one, when they asked me to be a series regular, I didn’t know if that meant I was going to be there for a year, if the show would go two years or three years, so I was just blessed to be a part of it. It was everyone’s first job that gave them a platform, and to be running around New York City…the city was such a part of the show and such a character, and whether it was restaurants or fashion or concerts or an art gallery or museums, everyone wanted to be a part of the show, so they were so lovely to all of us. And it’s also quite interesting because it was based on a gossip blog. And at the time there wasn’t really social media, [not] what it is today. Twitter had started when we were doing the show, but there wasn’t Instagram. So I look back now and find it so interesting that we were doing this show based on how everyone basically lives their lives now. People can’t not check their social media for 10 minutes. And I always laugh with Chace [Crawford, who played Nate] and ask him, because still see each other and don’t live far from each other, "Can you imagine while we were filming if there was all that." We’re like, "Not at all."

But, no, we all had fun, and I feel like it’s one of those things—and I’ve talked to some of my friends that were on That ‘70s Show and other shows that were on for years—and sometimes after you get a fourth, fifth season with TV, because you’re playing the same character, sometimes you’ll hear actors be like, "I’m ready for it to be done." And then a year or two when it’s done, you’re like, "Oh, that was such a good gig, it was so fun."

So, this is obviously a sensitive subject and I approach it with respect for you completely, but Ed was recently accused of rape by multiple women, and I’m just wondering what processing that news has been like for you.[Editor's note: Westwick has denied all claims, saying that he is "cooperating with authorities so that they can clear my name as soon as possible."]

It’s a difficult subject right now for anyone that’s involved on either side…I don’t even really know how to answer it, if I should, because I don’t want anything to get twisted, because I have known Ed for years and know how lovely he is, and don’t think he would ever put someone in a position like that. It’s difficult, because you don’t want someone you know to go through that or do that to someone, or knowing them well, knowing that you don’t think they would, and you don't want, for the girls that are coming forward, it’s like, are they stretching the truth? It’s just, it’s a touchy, tough thing that you pray it’s not true and that with, outside of even him, all these different topics coming up, I’m glad that there’s notice being put on it for women that are going through it. But I also think it’s a touchy, crazy thing too, because some people are going into these different situations and they’re not coming out true. So it’s like, well, why are people making it up, because that takes away from the girls that are going through it. And then it’s also hard to go back and try to get evidence from things that were so long ago. So, I’m really trying to answer this as open and nicely as I can, because it is touchy, and I obviously for any of these situations, wasn’t there, for either side, so I can’t say it did or didn’t happen. But I know him well and I’ve known him for years, and I found it shocking. And I hope that it’s untrue, but I also feel bad for anyone that’s been in that situation, for the women that have to deal with that, for the situations that are true.

Have you spoken to Ed since the news broke?

Yes.

And can you share anything about that conversation?

I mean, he’s going through a difficult time. He’s being accused of something that he’s publicly saying he didn’t do. So it’s, you know, tough on him. His show got canceled. [Editor's note: The BBC announced that "until these matters are resolved" they are not airing Westwick's show Ordeal by Innocence and that filming for White Gold has been put on hold.] You know, he’s like, "The truth will come out and hopefully people see that and hopefully that’s it." It’s just such an unfortunate thing all around. And I have to be so careful, because it’s not my situation and I don’t—I wasn’t there. So it’s hard to speak on behalf of those girls or him.

Right, yes. And I—

I don’t know those girls at all, and they could be lovely and awesome and all that. From the Ed I know and working with him for five years and having a friendship through all of that and after, it was shocking. It was shocking.

Are you saying, then, that you don’t believe the allegations?

I’m trying to feel, like how you asked the question. I mean, from the person I know, I find it shocking, because I can’t see him doing that to someone. And it’s a tough thing because I wasn’t there for those situations and I don’t know. But if you’re asking me "Do I think he would do that to someone?" No, I don’t. But was I there? No. I’m so sorry, I’m trying to answer it in a way—this could get very sticky if this gets printed and my words get twisted, it’s not gonna be great.

Right. I wanted to just make sure that I was clarifying [what you were saying]. To move forward with something more positive, I guess, and to go back to Shameless, can you share a little bit about what happened at the wrap party? Because those are always fun.

We had it at a place in Hollywood and they just had really good food, music. You don’t really get to always see the crew so much outside of work—you’re all there all day and you’re moving from one scene to the next and going in and out of changes, in and out of hair and makeup. So it’s nice to just kind of be in an element of appreciating everyone’s hard work and what everyone does to be their part of this puzzle to make a successful, fun, great show. There was great music, we danced, ate. They were showing clips of this whole season…it was a really good time, and everyone was, I think, happy to be there and appreciate each other’s hard work.

This interview has been edited and condensed for length and clarity.

From: Cosmopolitan US

[m4ndysk4nkovich]

emma kenney’s performance in shameless was incredible and i am TIRED of y’all painting her to be a shitty actress just because you didn’t like debbie. like, season 1, for example. she was so young and she already had amazing delivery and was able to portray a very dramatic and emotional role perfectly. and her meltdown in season 3 when she starts beating up frank is incredible, really all of season 3 portraying the emotions debbie was feeling was so impressive. then, in season 5 we see how good of a comedic actress she is with the scene where mickey and debbie think sammi’s dead. and OF COURSE, season 7. when debbie get’s franny stolen and she screams and cries she does such an amazing job… how do you watch that scene and call her a shitty actress. she’s such a good actress with dramatic roles because yeah, she can cry ane show emotion through her voice, but also through her eyes. noel fisher gets praise for this, and of course he does- he should, but we should credit emma for her ability to do this, also. debbie’s character is complex and i understand people have a hard time with her character, but just because debbie’s behavior isn’t something you like doesn’t mean emma did a shitty job. emma isn’t debbie, she’s very talented and also very sweet and deserves to book more roles because she’s incredible.

^ the eyes thing (+ a post @holymurdock made about this)

[ultralifehackerguru-blog]

New Post has been published on http://www.lifehacker.guru/why-new-parents-need-to-take-a-break-from-the-news-and-what-they-should-do-instead-2/

Why New Parents Need to Take a Break From the News (and What They Should Do Instead)

In the months after my kids were born, the news cycle would send me into tailspins of anxiety and fear. The Penn State sex-abuse scandal and the Newtown shootings paralyzed me for days—I wept while changing diapers, wept in the bathtub, wept while pushing the stroller down the street. What might have been (merely!) horrifying pre-kids was now incapacitating. For my own mental health, I had to stop reading the news and looking at social media.

Take a Media Fast

Judging from the conversations in my moms’ groups, these feelings aren’t at all unusual. New parents are especially vulnerable to anxiety, says Laura Venuto, a New York City therapist specializing in postpartum mental-health issues. “Sleep deprivation and hormones exacerbate mood and anxiety symptoms. With new parenthood comes a heightened awareness that you’re suddenly not only responsible for yourself, but also a small child in what sometimes seems like a dangerous world.”

Dr. Venuto suggests a total news-media fast or at least a major reduction, corralling your news into 10 or 15 minutes (“In the morning! Not before bed!” she says), and then doing something pleasurable, like playing with your baby or calling a friend. For those worried that being out of touch means slacking off in their political activism, she gently suggests cutting yourself some slack: “If you’re a new parent, you’re not going to be making changes on a global scale. You’re in survival mode. You can put in a call to your representative, and that can be enough.”

Practice ‘Containment’

Lissa Hunsicker Kenney, a social worker in Brooklyn who counsels trauma survivors, also recommends “containment”—the first line of treatment for anxiety—as a first step. “Turning off your iPhone is containment—because it’s so easy for it to become uncontained. It just scrolls and scrolls, and it’s endless.”

So what are we supposed to do, instead? (Besides take care of our kids, I mean.) I asked Lifehacker readers, and my own new-mom friends, what media they turn to for good escapist distraction. I didn’t vet all the answers (though I did nix anything that had “horror” in its IMDB description—what about “non-disturbing” did these people not understand?) so do your own research before leaping into something totally unknown. They’re a good mix of classics, favorite sitcoms and adventure shows, a few kids’ shows and books, comics, and pretty much the entire oeuvre of the BBC.

Ideally, this list will remind of you of beloved books, TV shows, and movies that you’ve enjoyed in the past and will be soothing entertainment now, while you’re still in the sensitive new-parent stage. I read all of Jane Austen at night instead of mindless smartphone scrolling; others swear by sitcoms: “When my son was born we very quickly figured out we had to stop watching Breaking Bad and Walking Dead and just ended up re-watching Parks and Rec on a continuous loop for like three years,” one commenter wrote. Check out the original comments here, and please add your favorite comforting (no child-in-peril, no dead parents, no rapes or murders) media below.

TV & Movies

30 Rock

All Creatures Great and Small

Alias (a spy thriller spanning five seasons, so there are murders and occasional child-in-peril plotlines, but it’s a pretty campy show, so I didn’t find it especially distressing)

The Andy Griffith Show

Flip This House (or any fixer-upper/DIY type shows)

Any stupid Adam Sandler movie

Archer

Arrested Development

Black Adder

Black Books

Bob’s Burgers

Boondocks

Borgen

Buffy the Vampire Slayer (skipping “The Body” and maybe the second half of season five)

Catastrophe

Community 

Crazy Ex-Girlfriend

Critical Role on Geek and Sundry

Doctor Thorne (almost comically predictable, appropriate for anyone with only half a functioning brain, but any costume drama will do in a pinch. Check out this terrific resource for period dramas, but I strongly urge you to skip Call the Midwife if you have a newborn.)

Drunk History

Ed, Edd ‘n Eddy

Elimidate

Everybody Loves Raymond

Farscape

Father Ted

Friends

Futurama

Get Smart

Ghostbusters

Gilmore Girls

Gravity Falls

The Great British Bake-off (or any cooking show)

Grey’s Anatomy (I can’t believe this is still on the air; I have like 10 years to catch up on. Warning: it’s a hospital show, so people do die. Deeennnnnnny!)

Harvey Birdman: Attorney at Laaaaaaaaaw

Hogan’s Heroes

How I Met Your Mother

It’s Always Sunny in Philadelphia

Jeeves and Wooster

Kids’ shows and movies, like Adventure Time, Reading Rainbow (the awesome 80’s-90’s version), A Dragon’s Tale, Out of the Box, Teen Titans GO, Rocko’s Modern Life, Hey Arnold!, Rocky & Bullwinkle, Babe, the Narnia movies, Nanny McPhee

Kiki’s Delivery Service (“Miyazaki in general is a great way to escape into a different realm. The colors, the music, the gorgeous inventive artwork and the great characters in all his films makes him a master illusionist and conductor into a whole new world..” “…but not Grave of the Fireflies,” says another commenter.)

Broad City (“It’s hilarious and my life feels like a complete financial success by comparison.”)

King of the Hill

Last Man on Earth

Lucha Underground

M*A*S*H

The Mary Tyler Moore Show

Midsomer Murders (“While there are murders, everyone is so provincial and charming, it’s like coming home where you know everyone except for that darned stranger that got themselves killed.”)

The Mindy Project

Mr. Bean

MST3K

Any terrible reality TV (“I watch The People’s Court or Judge Judy, which I DVR in case I need them.”)

News Radio

Northern Exposure

Office Space

Only Fools and Horses

Over the Garden Wall

Parks and Rec

Party Down

Real Genius

Real Housewives (“Oddly enough, RHOC comforts me in that I always feel smart, competent, healthy, and sane afterward.”)

The Simpsons

SlowTV “Right after the election, my wife and I started watching a lot of SlowTV on Netflix. Things like Norwegian knitting competitions.”

Smallville

South Park

Space: 1999

Star Trek

Steven Universe

Supernatural

Taxi

The Blues Brothers

The Eagle Huntress (“a thoroughly enjoyable documentary”)

The first three Muppet movies

The IT Crowd

The Office

The Simpsons

The Unbreakable Kimmy Schmidt

The West Wing

The X Files

Top Gear

Trainwreck

Veep

Veronica Mars, season 1

The Vicar of Dibley

Waiting for Guffman

What’s Up, Doc? 

Books

A Suitable Boy

The Age of Innocence, or really anything by Edith Wharton

Alexander Hamilton

All Creatures Great and Small

Anne of Green Gables (really anything by L.M Montgomery)

Born Standing Up

Bossypants 

Bridget Jones’s Diary (good escapist movie too)

Calvin and Hobbes

Circle of Friends, or really anything by Maeve Binchy

The Code of the Woosters, or anything by P.G. Wodehouse

The Elegance of the Hedgehog

The Grand Sophy or anything by Georgette Heyer

the Harry Potter series

I Capture The Castle

I’m Your Biggest Fan

Is Everyone Hanging Out Without Me?

Jane Eyre

The Last Days of Night

Love in a Cold Climate

Maisie Dobbs

Ms. Marvel (comic)

My Family and Other Animals

The No. 1 Ladies’ Detective Agency

The Other Boleyn Girl, or anything by Philippa Gregory

Pride and Prejudice, Emma, or really anything by Jane Austen

The Pursuit of Love

A Room With a View

Restoration, or anything by Rose Tremain

Sir John Mortimer’s Rumpole books

Sherlock Holmes

Today Will Be Different

Tom Jones

Unbeatable Squirrel Girl (comic)

Washington Square

West With the Night

Where’d You Go, Bernadette?

Yes Please

  Recommended Stories

What Stress Actually Does to You and What You Can Do About It

How to Get Some Rest When Stress Is Keeping You Up at Night

Why You Need to Start Drinking in the Shower

©

[ethelbertpaul444-blog]

ABC cancels ‘Roseanne’ after Barr’s racist tweet

close Video ABC cancels ‘Roseanne’ after Barr’s racist tweet ABC has announced that it is canceling the reboot of ‘Roseanne’ after prejudiced tweet made by Roseanne Barr. Just hours after Roseanne Barr announced a racist tweet about former President Obama’s aide-de-camp Valerie Jarrett, her wildly popular reboot of “Roseanne” was given the boot. ABC Entertainment President Channing Dungey said in a statement on Tuesday that the network would not be raising the show’s second season. “Roseanne’s Twitter statement is abhorrent, distasteful and inconsistent with our values, and we have decided to cancel her present, ” Dungey told Fox News. A rep for Barr did not return Fox News’ request for note. She was also stopped from her ability busines, ICM Collaborator. The news derives after Barr went into disaster damage-control mode following a politically blamed tweet she mailed connecting Chelsea Clinton to liberal donor George Soros and a racially blamed tweet responding Jarrett, who is African-American and born in Iran, is like the “muslim brotherhood& planet of the apes had a baby.” Roseanne Barr and her on-screen spouse John Goodman in “Roseanne.” ( ABC) The latter led to an almost immediate mea culpa, and a vow to never tweet again. “I apologize to Valerie Jarrett and to all Americans. I am truly sorry for making a bad pun about her politics and her watches. I should have known better. Forgive me — my laughter was in bad taste, ” she tweeted, after writing she was discontinuing Twitter. Her account was deactivated for a period of time, before reappearing with an old tweet with a brightening New York Times review of her highly rated “Roseanne” reboot pinned to the top of her Twitter feed. Barr’s co-star Sara Gilbert shared her calamity in the comedian’s tweet. “Roseanne’s recent criticisms about Valerie Jarrett, and so much more, are abhorrent and do not wonder the beliefs of our direct and gang or anyone links with our substantiate. I am disappointed in her actions to say the least, ” Gilbert tweeted just before ABC axed the show. This is incredibly sad and difficult for all of us, as we’ve established a show that we believe in, are proud of, and that publics love — one that is separate and apart from the opinions and statements of one cast member. — sara gilbert (@ THEsaragilbert) May 29, 2018 blockquote > div > “Roseanne” star Emma Kinney too chimed in on Twitter. I am hurt, flustered, and disappointed. The prejudiced and disagreeable commentaries from Roseanne are inexcusable. — Emma Kenney (@ EmmaRoseKenney) May 29, 2018 blockquote > div > Consulting producer Wanda Sykes discontinued the show just hours before it was canceled. I will not be returning to @RoseanneOnABC. — Wanda Sykes (@ iamwandasykes) May 29, 2018 blockquote > div > Barr’s political ends compelled a headache for ABC despite many crediting the 65 -year-old’s pro-Trump stance as the reason for the show’s success. Barr opened up about the resentment over her conservative ends to Jimmy Fallon on “The Tonight Show” in April. “Oh yeah, people are mad about that. But you know, I don’t dedicate a f—, ” Barr told Fallon. Barr has been open about depicting her iconic TV persona as a working-class Trump supporter. “I mean, everybody had a choice for themselves, in accordance with their own conscience, whom they appeared was the lesser of two ills, ” she remarked of the 2016 election. “You know, everybody chose that, so I’m not going to keep anybody down who didn’t vote like me. This is America, it’s a free country, and when you weigh it all together, I merely felt like we needed a whole new act. All the course. Bottom to top.” ABC announced in March that the reboot’s second season will be comprised of 13 new bouts, up from nine in the first installment but no breeze date was set. After being off the breeze for more than two decades, the March 27 back-to-back escapades debuted with booming success, coming in with a 5.1 rating in the key demographic of adults age 18 -4 9 and 18.1 million viewers. You can find Sasha Savitsky on Twitter @SashaFB. On Our Radar Lauer caught on tape TMZ Read more: http :// www.foxnews.com/ presentation/ 2018/05/ 29/ abc-cancels-roseanne-after-barrs-racist-tweet.html http://dailybuzznetwork.com/index.php/2018/08/03/abc-cancels-roseanne-after-barrs-racist-tweet/

[the-connection]

close

Video

ABC nullifies 'Roseanne' after Barr's racist tweet

ABC has announced that it is canceling the reboot of 'Roseanne' after racist tweet made by Roseanne Barr.

Just hours after Roseanne Barr announced a racist tweet about former President Obama's aide-de-camp Valerie Jarrett, her wildly popular reboot of "Roseanne" was given the boot.

ABC Entertainment President Channing Dungey said in a statement on Tuesday that the network would not be producing the show's second season.

"Roseanne's Twitter statement is abhorrent, abominable and incompatible with our values, and we have decided to cancel her present, " Dungey told Fox News.

A rep for Barr did not comeback Fox News' is asking for criticism. She was also ceased from her geniu bureau, ICM Marriage.

The news emanates after Barr went into emergency damage-control procedure following a politically accused tweet she cast joining Chelsea Clinton to radical donor George Soros and a racially blamed tweet mentioning Jarrett, who is African-American and born in Iran, is like the "muslim brotherhood& planet of the apes had a baby."

Roseanne Barr and her on-screen spouse John Goodman in "Roseanne." ( ABC)

The latter led to an almost immediate mea culpa, and a dedicate to never tweet again.

"I apologize to Valerie Jarrett and to all Americans. I am truly sorry for making a bad parody about her politics and her inspects. I should have known better. Forgive me -- my mockery was in bad taste, " she tweeted, after writing she was ceasing Twitter.

Her account was deactivated for a period of time, before reappearing with an old-time tweet with a radiating New York Times review of her highly rated "Roseanne" reboot pinned to the top of her Twitter feed.

Barr's co-star Sara Gilbert shared her regret in the comedian's tweet.

"Roseanne’s recent observations about Valerie Jarrett, and so much more, are horrid and do not indicate the beliefs of our direct and gang or anyone links with our picture. I am disappointed in her actions to say the least, " Gilbert tweeted just before ABC axed the show.

This is incredibly sad and difficult for all of us, as we’ve initiated a demonstrate that we believe in, are proud of, and that publics love -- one that is separate and apart from the opinions and utterances of one cast member.

-- sara gilbert (@ THEsaragilbert) May 29, 2018 blockquote > div >

"Roseanne" star Emma Kinney likewise rung in on Twitter.

I am hurt, embarrassed, and disappointed. The racist and distasteful comments from Roseanne are inexcusable.

-- Emma Kenney (@ EmmaRoseKenney) May 29, 2018 blockquote > div >

Consulting producer Wanda Sykes ceased the show just hours before it was canceled.

I will not be returning to @RoseanneOnABC.

-- Wanda Sykes (@ iamwandasykes) May 29, 2018 blockquote > div >

Barr's government contemplates began a headache for ABC despite countless crediting the 65 -year-old's pro-Trump stance as the reason for the show's success.

Barr opened up about the reaction over her conservative goals to Jimmy Fallon on "The Tonight Show" in April.

“Oh yeah, people are mad about that. But you know, I don’t establish a f---, ” Barr told Fallon.

Barr has been open about illustrating her iconic Tv person as a working-class Trump supporter.

“I mean, everybody had a choice for themselves, in accordance with their own shame, whom they appeared was the lesser of two evils, ” she spoke of the 2016 election.

“You know, everybody elected that, so I’m not going to give anybody down who didn’t referendum like me. This is America, it’s a free country, and when you weigh it all together, I only felt like we needed a whole new situation. All the channel. Bottom to top.”

ABC announced in March that the reboot's second season will be comprised of 13 brand-new chapters, up from nine in the first installment but no breath appointment was set.

After being off the air for more than two decades, the March 27 back-to-back chapters debuted with booming success, coming in with a 5.1 rating in the key demographic of adults senility 18 -4 9 and 18.1 million viewers.

You can find Sasha Savitsky on Twitter @SashaFB.

On Our Radar

Lauer caught on tape

TMZ

Read more: http :// www.foxnews.com /~ ATAGEND

[helloworlddemo1122-yahoopar-blog]

'Roseanne' Star Emma Kenney Talks About Her 'Uncanny' Similarities To Darlene (Exclusive)

Like mother, like daughter?

Roseanne star Emma Kenney tells ET that she has a spooky resemblance to her on-screen mother, Sara Gilbert. In an interview with ET's Nischelle Turner, the 18-year-old Shameless actress says that aside from the physical resemblance, they have some similar mannerisms as well.

"It's so cool! And I love it. It's like, it's insane how uncanny our resemblance is," she told ET. "Not only do we look the same but I remember -- I noticed it at the first table read and every table read. I told her this at the premiere actually a few weeks ago that everybody else was holding a script on the table just flat and Sara and I were both holding it folded over, so we were the only ones holding it... I thought that was very interesting."

Kenney plays 16-year-old Harris on the show, Darlene's daughter and Roseanne's granddaughter.

"I created a whole backstory to her before. I created her life living in Chicago -- in my mind in Chicago -- just so I could have that and now she's living in the suburbs of Illinois with her grandparents and her family and she's 16 years old and she doesn't want that so she's expressing it in a negative angry, teenage, bratty way," she said. "But we end up seeing a lot more heart to the character. It's not just like she's like that. "

She said that she appreciates the iconic place that the original Roseanne series has in pop culture, even if she didn't religiously watch the reruns while growing up. And while she acknowledged that the new iteration of the show has been heavily criticized, she said that the show offers a realistic portrayal of many families today.

"I think that the Connor family is a family that many many people can relate. Not every single family member is going to agree with the same political beliefs, food tastes, they're not gonna... somebody's gonna want Chinese, somebody's gonna want pizza for dinner, you know what I mean?" Kenney said. "There's always going to be family battles and I think the show has so much more than all the media hype... It brings so much love and we talk about so many concepts and so many things going on in 2018 other than politics."

For more on the Roseanne revival, watch the video below.

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[m4ndysk4nkovich]

“debbie’s character changed so much”

in season 1 in debbie’s FIRST EVER appearance we learn that at ten years old, she’s scamming people for money to “donate”, but keeps the majority of it. in season 10, one of debbie’s big storylines is her scamming people for money/clothes. in the entire first season, we learn that (and i’m basing this off of an emma kenney interview from 2011) she’s smart, she loves to take care of people, and she craves her father’s love and attention, but fails to receive it. like- emma basically explained her entire storyline to you fuckers in 2011 and yet in 2023 people are still too blind to understand it. she’s complex, but it’s also not that hard to understand her.

emma describes debbie and frank’s relationship in such an intelligent way (i love emma kenney so much), like she explains to us that debbie knows that frank is fucked up, but despite this, she loves him. she isn’t ignorant, she’s always been so smart, but she’s also so naturally loving and caring towards her family, and she desperately needs attention. she always has. emma says “i think that debbie thinks that frank relies on debbie, but then, she also knows that he really doesn’t but she wants to think that he does”, and that means so much. she knows that she can’t fix him, she knows that she isn’t as needed or wanted as she wishes she was, but despite this, she loves her father, and she doesn’t give up.

sorry this turned into me just talking about debbie and frank. should i make a bigger post about them? i have a lot of thoughts on them and i’ve been making a lot of meta posts lately so i might😭

[m4ndysk4nkovich]

this is what i mean when i talk about how you shouldn’t call the actor/actress ugly just because you don’t like the character. also emma kenney was a child when these comments were being made so that’s lovely. great job, guys.