#i would have included him as the conductor because his costume is great

[inej-qhafa]

Marwan Kenzari's roles based on how much I like his hair

So I was inspired by this post by @distractionapple after watching like 80% of Marwan’s films. His hair doesn’t change anywhere near as much as Luca’s, but in some of his films, his look is questionable™.

Joe / Yusuf al-Kaysani, The Old Guard    11/10

His hair here is just beautiful. Thank God Luca convinced Gina to keep his curls because he looks so much better with them. 10/10 for the hair alone. The beard also looks good, especially compared to the atrocities that some of his past roles have been.  Bonus point for the scenes when he's wearing a cap.

Emre Ogan, The Promise    6/10

Look, I don’t know what they thought they were doing with his facial hair, but it’s not the worst it’s ever been (we’ll get to that later). I enjoy the way his hair is styled here, but I do miss his natural curls. Basically 1/10 for whatever that moustache is meant to be but a comfortable 8/10 for his hair.

Adrian Knowles, What Happened to Monday    -10/10

You know when I said the worst facial hair ever? Yeah, this is it. It’s like they looked at him and said “how could we make him look super creepy” and decided the best way was to *partially* shave his beard. The dodgy moustache was bad enough, but the sideburns? Just no. His slicked back hair wasn’t the one either, even though it looked much better near the end when it came free. On its own, I’d give his hair a good 3/10, but the beard lets him down. A lot.

Ashraf Marwan, The Angel    8/10

Okay he looks so young in this film. He may be about 35 in this movie but he looks like he’s 25, purely because he has no facial hair. Most of his roles have some kind of beard, so clean-shaven Marwan is an outlier, and I like it. His hair is also pretty good, though of course without his curls, he loses a couple of points. Overall, pretty good decisions from hair and makeup here.

Jafar, Aladdin    3/10

I don’t know why hair and makeup decided to do this to him, but it is a tragedy. I think he spends most of the film with his head covered (idk I haven’t seen it and I don’t intend to) but even this brief shot I found is too much. I appreciate the beard, but the short hair does him no favours. Whoever watched this before The Old Guard must appreciate the upgrade. 5/10 for the beard, 1/10 for the hair.

Daan, Hartenstraat    9/10

His hair is just great here. Any role that lets him keep his curls automatically gets extra points from me. And I love that you can see his dimples, which is like the only downside to his beard. Not quite as good as in The Old Guard, but a close second. I haven’t seen this movie because I can’t find it with English subtitles, but from every gifset I’ve seen, his hair looks great the whole way through.

Rico, Bloedlink    5/10

Now, this film may be a complete mess, but hair and makeup didn’t fuck up completely. They didn’t shave Marwan’s head, but having said that, his hair isn’t great either. This is probably the longest his hair has been in film, so I wish we could have seen it down. He does spend about half of the film wearing a balaclava though.

Idris, Instinct    -1000/10

Ending at rock bottom. Whatever this is, I DON’T WANT IT. He looks nothing like any of his other roles and there’s a good reason for that. The only positive thing I can say about it is at least they gave him some reasonable stubble. I haven’t seen this film, and I don’t plan on ever changing that. Sorry Marwan.

[nekomittchi]

My Disney Fab 50 Statues

This is my version of the Disney Fab 50 statues for the WDW 50th Anniversary, and why I picked each one. My list aims much more to park history than the official list does. I'll note which ones are official statues by underlining them. These are in no particular order, but organized by park they'd be in. Magic Kingdom 1) Mickey - Obviously, Mickey, being the park and company mascot, needs to be here, and he's on the official list as well. I chose to put my version in his Philharmagic costume. It's got the hat from Fantasia/Sorcerer's Apprentice, which is well known, but tailored more to the park attraction. 2) Daisy Duck - One of the Fab 6, Daisy is also along for the ride. But unlike the official's "standard" outfit, I'm putting Daisy in a safari outfit to represent Jungle Cruise. Since Jungle Cruise doesn't really have any characters, I'm using outfits, like with Mickey, to represent attractions that otherwise would be left out. 3) Goofy - Another of the Fab 6, Mickey's best friend needs to be represented. Like Daisy, he's also repping a character-less ride. This time he's repping Big Thunder Railroad. As an added bonus, if they put him in a conductor outfit, it could also rep Mickey and Minnie's Runaway Railway, but that's at another park. 4) Pluto - The last of the Fab 6 in this park (the other two I'm placing elsewhere), Mickey's dog Pluto. And since the Park Wishables already put Mickey and Minnie in space suits for Space Mountain, let's give Pluto an astronaut helmet to represent it! And, as an added bonus, it doubles as a take-that at Universal, since Disney can't have Marvel in the WDW parks, and Pluto would be a joke on Cosmo (the space dog in the Collector's museum from Guardians of the Galaxy). 5) Sonny Eclipse - The first statue of mine that's not only unique to my list, but also represents something 100% in the park. I haven't been to Cosmic Rays myself, but from what I hear around WDWNT and WIGScord, it's pretty popular. Or at least Sonny is. So he gets a statue. 6) Merlin and Archmedes - Second statue unique to my list, and the first that's for the history of the park. Sorcerers of the Magic Kingdom was a scavenger hunt-type game that closed down early this year, and Merlin was kinda your guide for it. The game apparently had a lot of problems, but it looked really fun at the same time. 7) Genie - A surprising omition from the official list, and, unlike DLR, WDW actually has an Aladdin ride. The official list does have Abu, but I feel Genie is much more iconic and representitational of the movie. I'm also surprised that Carpet wasn't with Abu. 8) Pirate Dog - The Pirate Dog holding the keys is my representation of Pirates of the Caribbean. The dog might not be the most obvious pick, but as I'm trying to steer away from realistic-looking human characters, the dog was picked. Plus, they also made a Tsum Tsum and a Wishable of him, so... 9) Big Al OR Henry- This one's a toss-up. Either bear would do, and it's surprising to me that Country Bear Jamboree isn't represented. Of course, we know that it's a "less popular" attraction, so... 10) Madame Leota - The hitchhiking ghosts would also work to represent Haunted Mansion, but I think that having a gold statue inside of an ornate glass orb would look cooler. Plus, it only takes up one character slot, rather than 3. 11) Dumbo - One of the original rides from Disneyland, this classic has to be represented, and Disney agreed. Although I cut out Timothy. Didn't wanna take up another slot. 12) Stitch - Another statue to represent a past attraction, Stitch is here to represent Stitch's Great Escape. He's also, like the official statue, in his 626 form, because there's not nearly as much merchandise for him that way. 13) Winnie the Pooh - Piglet is with him on the official statue, but I think Pooh can stand on his own. Or, at least, eat hunny on his own. I mean, the ride is called "Many Adventures of Winnie the Pooh," not "Pooh and Friends." Also, Tigger is way better than Piglet. 14) Mr. Toad - Another surprising omition from the list. Mr. Toad's Wild Ride might not be in Magic Kingdom anymore, but he's still fondly remembered, and they even made a Wishable of him (from the Disneyland 65th Anniversary set, but whatever). 15) Maleficent (Dragon) - The first of my statues that's not for an attraction, but a show (okay, Philharmagic is kinda a show, but shush). And she's also considered the "leader" of all of the Disney Villains, who are not represented at all in the official list, which I think is a shame. Sure, we all love the heroes, but who would those heroes be without their villains? 16) Face Clock - The only non-character in my list, the Face Clock is iconic enough for the World's Fair-turned-park ride. Because if you picked one of the dolls, which doll would you pick?! 17) Elliot - I've never seen the Main Street Electrical Parade myself (unless it was when I was 5), but I'd recognize the dragon float from Pete's Dragon anywhere. Bonus points if they could do the statue in such a way that it looked like the float, too. 18) Tinkerbell - The last of the revealed statues, Tinkerbell has come to represent Disney magic, both within and outside the parks, just as much as Mickey. Officially representing Peter Pan's Flight, I'd like to think that she also represents the Castle, like in the company card at the start of the movies. 19) Jose, Michael, Pierre, and Fritz - Yes, I know I've been trying to avoid "wasting" slots with multi-character statues, but... How could you pick just one of the Enchanted Tiki Room birds?! 20) Cheshire Cat - Cheshire and Mad Hatter both made the list (as separate statues), but I feel that Alice in Wonderland can be represented by Cheshire on his own. Plus, cat. 21) Boo - Monster's Inc Laugh Floor is an attraction that I wish was at DLR, so I could go on it, but even better than Sulley or Mike is the adorable Boo. 22) Jimminy Cricket - Yet another surprising omition from the list, Jimminy is almost as iconic to Disney Magic as Tinkerbell is. The official list has Pinocchio, but Jimminy is so much more "Disney" in general than Pinocchio. 23) Dopey - Seven Dwarfs Mine Train represent, as well as Disney's first animated feature. EPCOT 24) Donald Duck, Jose, and Panchito - Mickey's other best friend, here represented with the other two of the Three Caballeros, as represented in the Gran Fiesta Tour ride in the Mexico Pavillion. Like with the other members of the Fab 6, I chose to put him in an attraction outfit, and since I did, the other two had to come along for the ride. 25) Figment - Journey to Imagination (or whatever the current name of the attraction is) might be "meh" as a ride, but everyone loves Figment. Even Disney, who included him. 26) Olaf - I love Bruni. Bruni is probably my favorite character from all of Frozen. But Bruni isn't even named in the movie, he doesn't need to be on a statue. Olaf can represent Frozen Ever After by himself. 27) Remy - I'm shocked that Remy's not on the official list, given that his ride [officially] opens on the first day of the 50th Celebration, and represents the future of the parks. 28) Orange Bird - OB is on the official list, though in MK rather than EPCOT. All of the merch and such I've seen for him has been for the EPCOT festivals, so I'm sticking him here. 29) Rocket Racoon and Groot - Another statue to look to the future, for whenever Cosmic Rewind opens. Also, unlike the official statue, we are not using the realistic style from the official statue. The fur on Rocket looks so bad. Nah, instead we'll do him smooth, like the cartoons. 30) Mushu - Mushu was left out of the live action Mulan movie, but he's designed after traditional Chinese dragons, so let's put him over by the China Pavilion. 31) Marie - Did you really think that this list was not going to have my favorite character on it? I mean, really? Plus, we've got THREE mice/rats on the list, AND a dog, so we need another cat. Hollywood Studios 32) Minnie Mouse - And here we have the last of the Fab 6, Mickey's gal Minnie! Why is she in Hollywood Studios? Because she's representing Tower of Terror, wearing a cute outfit, of course! 33) DJ-R3X - Remember all those Fab 6 characters representing multiple characters? Yeah, R3X here is doing the same. Not only is DJ-R3X the DJ at Oga's Cantina in Galaxy's Edge, but he was originally RX-24, the pilot for the original version of Star Tours. Much better representation than BB-8 or R2-D2 from the official list. 34) Kermit the Frog - One of the more offensive omitions from the official list. MuppetVision3D is great fun, and the Muppets don't get nearly enough love, even with the Haunted Mansion special coming. 35) Chuuby - Okay, so sue me, I'm obsessed with the little merchandising bird. He's just too cute. 36) Woody and Buzz Lightyear - I know the official statue is Woody and Bo-Peep. But I haven't seen Toy Story 4 (or 3), so I want Buzz there. Disney's Animal Kingdom 37) Chip and Dale - Ya gotta have the little buddies! And who better to be wearing cute little Wilderness Explorer outfits? 38) The Yeti - So, the real Yeti might not work in Expedition Everest, but that doesn't mean he shouldn't be represented as a statue! Just make sure it's not realistic fur like that horrible Rocket statue. Stylized only! 39) Simba, Timon, and Pumbaa - Simba is separate from his friends in the official statue, but the trio (Simba as a child) should stick together. Festival of the Lion King is amazing to watch. You'll note a few things on my list: 1) There are no princesses. This was a specific omition on my part. The princesses have their own line of stuff, and are fairly over-used as it is. I wanted to get away from that. 2) As I mentioned with the Pirate Dog, I wanted to avoid realistic human characters. They either look good, or they don't. And I wanted a bit more of a similar style to everything, hence why I'm noting that Rocket should be done in the cartoon style, and the Yeti should be stylized. 3) Everything is tied into an attraction, land, or Disney Magic. Nothing is there solely from a movie. 4) My list only has 3 statues more than the official list. 5) For reference, here are the characters that are on the official list that are missing from mine: Timothy the Mouse (with Dumbo) Piglet (with Winnie the Pooh) Bruni (with Olaf) Bo-Peep (with Woody) Lumiere and Cogsworth Mad Hatter Pinocchio Gus and Jaq Lady and Tramp Abu Dante Miguel Pua and Hei-Hei Joe Gardener Edna Mode Frozone R2-D2 BB-8 Sebastian and Flounder Nemo and Dory Bambi and Thumper Of these, there are no major parks connections for Lumiere and Cogsworth, Lady and Tramp, Dante, Miguel, Pua and Hei-Hei (yet), Joe Gardener, Edna, and Frozone. Edna and Frozone especially bother me, as they're not even the main characters. Why couldn't we get a Jack-Jack instead? And Mr. Mittens and 22 over Joe Gardener? 6) And, finally, here are my statues that are new to my list: Sonny Eclipse Merlin and Archmedes Genie Pirate Dog Big Al Madame Leota Mr. Toad Maleficent Face Clock Elliot Jose, Michael, Pierre, and Fritz Boo Jimminy Cricket Dopey Remy Mushu Marie DJ-R3X Kermit the Frog Chuuby Buzz Lightyear The Yeti

[rosebloodcat]

BNHA/AHIT Idea

I’ve had a crossover (multi? Look, it could have a third put in, but that’s just because of how much of a nerd I am for a specific fandom) kicking around in my head for a while now and I need it OUT. I just can’t try to write it myself right now. But it’s refusing to just sit back and let me work on other stuff.

Therefore, I’m releasing this idea into the universe just so it will finally leave me alone. (Because I have PROJECTS RIGHT NOW. Projects that will hopefully give me INCOME!!!) I have thought of numerous little details for it, but I just don’t have time to devote to it right now. If you want to write it, go for it!! Please! I will happily read it if you do!

The base idea is A Hat in Time getting mixed with My Hero Academia, specifically focusing around a Reincarnated Snatcher in the BNHA universe. Who becomes a Villain/Vigilante without really meaning to.

(It’ll make sense when I explain, I promise.)

We know Snatcher is a ghost (and the fandom collectively agrees that he’s also the Prince), so it’s not too much of a stretch to imagine that eventually Snatcher would decide/choose to move on.

Maybe he’s tired of ruling the forest. Maybe something’s happened to the forest to make him staying seem unneeded. Maybe Vanessa’s finally passed away (she’s powerful, but I don’t think she’s immortal? Not terribly important) and he doesn’t need to protect the forest from her anymore.

Whatever the reason, he’s found his peace and moves on.

Cut to another planet/world/universe in the future where he’s been reborn into the world of Quirks, but doesn’t have one himself. But he does have powers of his own.

Magic!

It could be an HP-style community, it could be video game-style magical world hidden in a non-magical one, or something else entirely. But, either way, Snatcher has magic and has actually bee taught about how it works and how to use it.

(And maybe he’s been having issues? For it seeming Dark when he really gets into using it?)

He’s gotten stuck in a bad/not great situation, being forced into a loveless relationship and getting forced into a role/box he doesn’t want to be in. He wants out, but he’s either dismissed or too polite/nervous/trying to not get in a worse situation (harking back to his origins as the Prince) that he can’t get out.

Eventually, the pressure reaches a point where something in him snaps, and he lashes out with the Dark powers he’s been trying to keep hidden.

After which he passes out, and ends up remembering his past self as The Prince and as the Snatcher. He sees that he’s getting shoved into a parallel of his life with Vanessa and goes “Oh peck no.” and gets his butt out of there.

So he plunges into the non-magic world, which is full of powers and Heroes and makes it surprisingly easy to bend in. At first anyways.

He quickly finds he’s got a few problems, since he lacks a lot of the documentation/records mundane people need to have. So he uses his magic and his knowledge of (his current world’s) law to forge the documents he needs. He manages to contact other magic-people to finalize his works and builds a believable fake identity that close enough to his actual one to pass under the radar.

He even gets the right papers to get him into Law School. (So he can actually finish it this time.)

But, some how, knowledge of what he did gets out.

He gets contacted by one of the people he knew (whom he’d trusted enough to tell that he was getting out of there) saying that someone wanted him to do the same for them.

He (reluctantly) agrees to do it, and tells them to give the pseudonym “Snatcher” to the person looking for him. And creates a disguise to keep his real identity from being recognized. His disguise includes a mask of the permanently smiling face he’d had as a ghost.

It slowly escalates from there, until the “Soul Snatcher” becomes a whispered name in the Underground. Someone that you can go to escape whatever you’re stuck/trapped with now.

(He has limits/standards. Only helping the people he wants, which are usually people stuck in similar situations to his own. AKA people trying to Abusive, controlling environments or trying to bring people who’ve screwed them over to justice. It makes him a vigilante, of sorts. But he can also be pretty terrifying/cruel too. Especially to people who try to lie to him, or are the criminals he’s been asked to help reveal.)

(His title also became “Soul Snatcher” because of the rumored “cost” to his work. He doesn’t actually take souls, but he gets metaphorical/poetic about what his costumers have to pay so that he can be sure that they won’t try to rat him out. He actually come from an Equivalent Exchange view, but based more on what he’s doing means to the person in question.)

(Like getting a new Identity means “killing off” the old one. So it gets worded as “A life for a Life.”)

He crafts two separate persona’s to keep from being caught by Heroes or the Police.

Prince- His harmless seeming, good-natured self . The nice guy who was studying law, and always ready to lend a hand to his neighbors. He’d absolutely do pro-bono cases for people in dire straights and really sticky situations. He’s the kind of person everyone likes/trusts. Very Pro-Quirkless due to being “nearly quirkless” himself. His “Quirk” lets him breathe life back into wilted/dying plants. (I got the idea for that from a fanfic where Snatcher, when he was alive, had the power to make plants/flower grow when he touched them.) (Feel free to use your own ideas for his powers if you don’t like this idea.)

The Soul Snatcher (or just Snatcher)- Basically his flippant, forceful self from the start of AHIT. He’s a bit of a showman, but also very crafty and very obviously out for himself. He can be sly too. Making contracts tends to feel a lot like making a deal with the devil. (He kind of has a Ursula-vibe to his act.) But he’s also very harsh, and can be downright cruel to people who break their contracts or try to betray him. He uses most of the same powers he had as a ghost, and sometimes the magic/energy he uses can coat his body and change him to look like his ghostly self. (His powers stayed with him because of how he used them back then, and the souls he’d absorbed/eaten. It kinda became a permanent part of his own soul, and carried over because of that.) (There’s also a side effect of him being very light-sensitive when he uses them. If he actually changes to become ghost-like, the light can even hurt him. This is mostly because of how shadow-like he is.)

Thanks to the persona’s, he’s able to keep his two identities separate and is relatively assured that no one would be able to connect the two together. Meaning he can live however he likes without trouble.

Even then, he tries to steer clear of the Heroes and Villains, seeing both as more trouble than they’re worth.

(But that doesn’t mean he ignores the various laws surrounding them. As a Lawyer, there’s no guarantee he won’t get hired for a case involving them.)

He could get involved with Izuku as Prince, either as a neighbor or as a case. (Maybe Inko gets tired of all the crap her little boy’s been put through and hires him to sue the school for discrimination? It’s a thought.) And he takes the quirkless kid under his wing to help him out.

(Maybe Izuku could remind him of Hat or Bow? Not majorly, but just enough that he wants to look out for him.)

Or he could have some close calls with Heroes looking to capture the Soul Snatcher and eventually gets caught. And somehow ends up as an insider/informant for a hero/hero agency.

Or it could be both!

Maybe with Nedzu figuring out that he was escaping a bad situation, that he was helping other do the same, and that he possibly wasn’t even a legal citizen for the area. Maybe even mentioning that it would deal serious damage to his identity/reputation if it got out that he’s Snatcher. And the harm it could do to people he knew/was helping/had helped.

So he reluctantly goes along with it.

And that’s pretty much the end of my thoughts on this idea.

There’s a chance of other reborn AHIT characters showing up (like Vanessa, Hat and Bow, Conductor or Groves, etc) but I have no thoughts for that. But now the idea is down and out of my head. So if anyone wants to try making this story, you are welcome to it!!

And if you want anymore thoughts I’ve had, don’t be afraid to ask.

[waitedforgarridebs]

“We are what we are, Watson. And... I love you, too.”

Or: The story of how @belladonnaxy and I unknowingly (!) went to a stage play that made Johnlock canon*

Yes, they did that.

(*And we totally took that picture before going in ... we been knew.)

More of my personal impressions after the cut (beyond the one, big fact that I obviously already spoilered), but: 

Before that I’d like to present to you the great and almighty archive.org, where I found a recording of the play (x) done at BBC Radio Four’s More Than Words Festival in Bristol (2012). 

So, please, enjoy – because there is so much gay subtext in this play, and the feeling of getting the pay-off for it at the very end is the best thing in the world.

Other than the radio play, the original production (and ours now) was only done by three male actors, and only the actor playing Watson was never really changing to play other people (and is therefore considered the “lead character” thehe). Both the actor who played Holmes, and the actor who played Sir Henry, were changing a lot, which led to some very funny pauses sometimes, where they played up the time it took to change into the other costume for laughs a lot.

There were... a lot of fourth wall breaks, in general. Which didn’t hurt me, like, at all :) 

Do you like puns? Because there are a LOT of them in this play (and I mean a lot). Especially about dogs. But more so... about gay things.

You know, like...

Watson describing a walking stick as “a thin, length of wood with a curious curve at one end”.

Watson is Holmes’s conductor of light, “my(!) torch. Just... turn yourself on. And keep yourself turned on whenever you are around me.”

There are two posh guys getting off ... [long pause] ... the train.

Furthermore:

Watson is obsessed with food (and never gets to eat) – he especially would like a sausage.

When Watson is writing Holmes to report about what’s happening, he is pondering about how many kisses he should put next to his name when signing the letter (no joke).

Sir Henry constantly keeps pointing out the beauty of women to Watson, who simply shrugs it off each time and has like zero opinion about it.

Watson: “I just feel like... nothing compared to you.” Holmes: “You are not nothing, Watson. You are my torch.” Watson: “I love you, Sherlock.” Holmes: “I know.” (which, thank you @mollydobby, is possibly a Star Wars reference (x) :))

Holmes: “I need you, Watson.”

And, the famous last line of the play: “And, Watson: I love you, too.”

On a sidenote: There was a horse named Victor.

And before the interval, they raised all the open questions about who Cecilia Stapleton really is, “so, was it a girl or a dog?”

Yeah.

I’ve not listened to the full recording on the archive yet, so I don’t know how they would implement certain things, because this one is a radio and not a stage play – so, just to give you some visuals, too:

Watson and Holmes meet Sir Henry for the first time in a sauna in the London steam rooms, sitting there with him, Sir Henry’s crotch on eye-level (because Sir Henry is sitting on the upper bench), and Sir Henry casually completely unwraps his towel to readjust it, and stands there, flashing all his glory right into Watson’s face.

Leading to Watson blurting out, “We need to get out of here or I’ll explode.”

The first night at the Baskerville manor, it is so incredibly scary, with all the thunderstorms and hound-noises from the outside and whatnot – we see Sir Henry in his bed (which is standing upright on the stage, so we get the view from above), and he’s so frightened he yells out Watson’s name - who too, is frightened... so yes, in the end, they were bed-sharing. :)

Before the interval, one of the actors “fainted”, which was their perfect excuse to announce there shall be a little break.

After the interval, the Holmes actor came back on stage, holding up his phone like a drama queen and gesticulating to the Watson-actor, “READ IT!” - apparently, someone had tweeted during the interval, that while it was an enjoyable play, the guy who played Holmes was dragging out his lines like an asthmatic donkey, which is why the play felt really slow. So, making an “executive decision”, they would re-do the entirety of the first act now, but faster. Which. Was. The. Funniest. Thing. Ever. (And while skipping a lot of lines, naturally, they made really sure not to skip any of the gay subtext.)

When “Sir Henry” died by falling off the precipice after being chased by the hound, Watson tries to do CPR on the body, while Holmes stands there yelling it is useless, because “half his head is missing”. Watson ends up looking at Holmes like “try me bitch” and stubbornly keeps doing the CPR. Holmes, “What kind of a doctor are you even????” Watson stands up, “FINE!”, and kicks the rag-doll that is the corpse across the entire stage. Repeatedly.  Holmes, suddenly yelling, “This is the worst thing that happened in my entire career!”, joins in the kicking the corpse around to relief his frustration. 

Watson is being a bit bumbling and slow-witted in this one, so there is this one moment where he said something incredibly moronic, and Holmes just looks at him, sighs, is #done, #this is the idiot I married, #lies down on the floor and cries.

At one point, Sir Henry was shaving and Watson suddenly rushes him to go downstairs to meet up with Cecille Stapleton. But there is still all the shaving cream on his face, so Watson shall help clean Sir Henry up, quickly. The shaving cream is everywhere... on his face... in his mouth... in his eye :)))))

Watson and Holmes at one point disappear to play snooker together. You know. Aiming at the ball with a stick, trying to hole it, making way more rhythmic “aiming motions” with the stick than really necessary... 

In general, there were a lot of sticks. And guns. And torch-guns.

Disclaimer (because I know this question will come up):

The entire play was a comedy, quite slap-stick, maybe a bit of Monthy Python-y humour – but yes, still, during the break we had our doubts whether all the “gay jokes” would end up being queerbaiting or not. 

While we really thought they were genuinely funny jokes then already.

And they also dragged the straight cliché plotline of “he was a boy, she was a girl” through the mud a little with the whole Sir Henry / Cecille thing – going so far as including an entire tango dancing scene montage with disco balls and ridiculous music.

But in the end, both Sir Henry and Cecille AND Sherlock and John ended up saying “I love you” to each other in the second act, just to really drive it home what saying these words to another person actually means.

And it was glorious.

Second disclaimer:

This play told a story, and this story is over. And yes. There was gay subtext and there was pay-off for it at the end of this story. 

So, please: Don’t salt about Moftiss on this post.

If you find this after series 5 has aired and they actually haven’t made it canon, then yes, go ahead and salt if you really have to. But not now. Not on this post.

Also, one more thing.

I’d like to point out the official listing of characters on the theatre’s website:

We should maybe have seen it coming... ;)

Anything to add, @belladonnaxy? 

[tisthenightofthewitch]

Ghost rock in Hanover

The whole (translated) version of the review I posted part of earlier, requested by @lonely-pyro

They are the most diabolical band on this side of purgatory. Ghost ignite a hellfire at their show in Hanover - with a wink.

Here comes Tobi. Tobi is a singer, but on stage he is also Count Dracula, the great Zampano and Lord of heaven and earth. It's the big horror show when Tobi prances to the edge of the stage. Or walk from his show staircase. Back pressed, legs like stilts, royal attitude. A hint for one of the three guitarists, one for the 2700 fans in the Swiss Life Hall in Hanover , then a straight fist. Tobias Forge is clearly the conductor, the showmaster, he sets the tone.

The 37-year-old Swede likes the theatrical performance. He can flip his microphone so elegantly from one hand to the other that it stands in the air for a very short moment. 40 years ago he could have landed in Dieter Thomas Heck's hit parade. Only the inverted cross on the chest (heart side) would not have gone well. And the ghostly, thick white mask on the face with the deep black eye sockets - not even that. At that time light entertainment, confetti and lard still stood on one side - rock music and honest work on the other. Today it is not so easy to separate - and Tobias Forge with his band Ghost shows how to turn these wonderful possibilities into a really big cabaret with confetti.

The show on Sunday evening starts with a series of ringlets - a children's melody with a carillon and an ominous end: "We all fall down". On stage: seven masked figures - the musicians cover their heads behind silver devilish faces. These are the "nameless ghouls" - demons without names. The musicians Forge has gathered behind are anonymous. In a decade Ghost he has already worn a whole bunch.

Court dispute with musicians

The singer himself was anonymous for a long time and performed in the role of a kind pope with a horror mask. In 2017, he went public after former fellow musicians had sued him. They felt deceived and exploited financially. It is safe to assume that other employees of Forge'sstringingly planned company Ghost are now behind the masks to continue the spectacle.

On stage, the guitars cut. It is getting dark. "In times of turmoil, in times like thesis", Forge sings . Yes, they are stirring times. The rats. They come and bring with them beliefs that spread like diseases. Ghosthave become quite political with the first single of their new album "Prequelle". "Rats" also starts at the show, a driving metal song with a poppy "Aaah-woaah" song in the center.  Heavy metal meets earwig.

In fact, no band currently manages to cross such hard rock with such soft melodies. "If you have Ghost , you have everything," Forge willsing later. There is something on that. With Ghost , there really is something for everyone who can do rock music. About ten years ago, the band started in Linköping, Sweden, as a dark heavy band. The musical journey quickly led through the entire quotes basement of rock and pop history. Ghost attacked with courage, without fear of genre boundaries, and artfully combined all the influences into a whole. Who can hear, listen to: psychedelic rock, occult rock, pop rock, progressive rock. Black Sabbath ,Blue Oyster Cult , Abba , Foreigner, Pink Floyd , Genesis, Rush, Kiss, Judas Priest , David Bowie , Queen.

There are horror masks, texts about witches, plague and death. Even the good old devil get Ghost quite out of the moth-crate. Forge slips into various pastor costumes, pans frankincense, tears suggestive taunts. The light show is a spectacle in itself, the ground fog wafts, flames shoot from the stage. The highlight: As a musician in the Pope's gown puts a saxophone solo on the floor.

Two and a half hours take the whole mummery. And like every musical there is a break. Here we experience the very successful rock'n'roll dizziness of Tobias Forge . Ghost turn heavy metal into what it never wanted to be: just a big show - sets, role-plays, self-irony, silliness. Ghost is the "Rocky Horror Show" with double bottom. "Come on, Hanover ! Gossip, gossip, gossip, gossip ", so Forge cheers the fans. He praises the look of the audience. "And you smell good." Later, he inquires if one likes it when the music makes the bottom bumble. A loud yes! And right before the end he finally advises to go home and have sex.

The music is sometimes hard staccato, sometimes soft like the Scorpions. Pathos, bombast and kitsch are always included. Forge sings that he wants to enchant someone in the moonlight - the whole night, of course. The melody would have made Abba proud. Just because the whole show is so obvious without limits, you can let Tobi pass this.

By Ralf Heussinger

[carry-on-my-pretty-weeper]

Catching Lightning Chapter 4

Author: carry-on-my-pretty-weeper

Character(s): Peter Parker and Reader

Word Count: 1k+

Warnings: cursing, guns, attempted robbery 

Author’s Note: I got so excited for this chapter that I may have sketched what I said y/n was sketching at the end of the chapter but you know it happens.

Masterlist to the series!

You unlocked your front door and let Peter and yourself inside. “Dad I’m home and I brought Peter!” you yelled into the apartment. You listened for a response but got none. 

“I guess he’s not home,” you replied more to yourself than Peter. Peter only said oh before he started getting out his homework to which you groaned.

“You said that we were going to watch a movie not do homework,” you complained. He replied that you guys could watch the movie as soon as you finished your homework. 

You regretfully pulled out your homework and started to work on it. But that’s when you felt something. Something just felt wrong and you didn’t know what it was. Peter had his panic face on but tried to pretend nothing was wrong.

“I got to uh go get something for my assignment, I forgot it at my place, so uh I’ll be back,” he stumbled over his words. He’s been doing this a lot lately giving some half assed excuse before running off. When you tried to ask Ned about it he just denied it and changed the subject.

He left his stuff but grabbed his backpack and ran out of the apartment. You still felt the off feeling so you locked the door behind Peter and climbed through your fire escape. Peter was nowhere to be found but that was for the better because you didn’t have a good feeling about what was about to happen. You started running and you didn’t know where but you knew you were going in the right direction. 

Once you arrived you were shocked by what you saw. Mr.Delmar’s shop? When you were about to walk inside you realized what was happening. There was a guy who was very close to Mr.Delmar while he was guestering with a gun. Goddammit why did everyone have guns? Mr.Delmar had the same expression as the woman you helped before. You were about to storm in when you saw Spiderman crawling on the ceiling. The Spiderman! Before Mr.Delmar could give him the money Spiderman shot webbing at the guy’s hand which stuck it to the counter. Then hopped onto the floor in a crouched position and stood up. He shot off two more webs one for the gunman’s mouth and one for his leg. You could tell by the way Mr.Delmar’s face was moving he was thanking Spiderman. You couldn’t tell what Spiderman was saying because of his mask. That would be a great idea for yourself. Wait what? 

You continued to watch Spiderman as he was making his way to the door right where you were. Oh shit! You quickly ran to the flower shop next door and pretended to be looking at bouquets. He swung off into the streets of Queens. 

You raced home and basically scaled your building running up the fire escape into your room. You flopped onto your bed and closed the window where you sat and thought. What were you thinking “great idea for yourself”? I mean why would you think that? It’s not like you were going to be the next Spiderman. I mean you could be. You wouldn’t be half as good but still it would be a waste if you didn’t help people with your powers. You didn’t want to be selfish. Just as you were coming to a conclusion you heard a knock at the front door. You hop up and check the peephole and guess who it was out of breath and at your door. That’s right Peter Parker! You unlocked the door and let him in. “Did you get the stuff you needed?” you asked while you got comfortable on your couch.

“What?” he asked confused.

“You know the stuff for your assignment? The reason you left?” you pried.

“Oh uh yeah I did! So have you picked out a movie for us to watch yet?” he asked trying to change the subject. Grilling him about anything that could lead to him spilling the beans about being Spiderman was the last thing he wanted. He sat next to you while you were flipping through Netflix and found your unfinished episode from the other day. Looking over at him with a smile that said ‘pleeaasse’ he conceded and that’s how you two ended up in the middle of a Supernatural episode about a clown who would murder parents after befriending the children. When the dad told his son that clowns were his friends you yelled no the hell they’re not! Then later when the little boy says the dad was right and the clown killed the dad you yelled I freaking told you! Peter jokingly shushed you. Which you responded about how he should never trust a clown. He promised to never trust a clown as long as you were quiet the rest of the episode. So you sat facing the TV and sucked in deep breaths through your teeth whenever you got scared. The episode finished and you nearly burst with all the commentary you were holding in.

It was then you realized how close you were to him. I mean sure you guys have been this close before but that was before you started to kind of, maybe, probably not crush on him. So you pretended to need water. You got up and got a glass and pounded the ice cold drink. You could feel your throat strain under the chill but you didn’t care. You needed to distract yourself from the totally not forming feelings between you and Parker. 

“I think it’s time I got going,” Peter said as he turned his head to face yours.

“Okay, well be safe okay? We don’t need Spiderman coming to save your ass. Actually that would mean that you’d get to meet him forget what I said do everything dangerous,” you joked. Oh you had forgotten to tell him about seeing Spiderman at Mr.Delmar’s store. But he already had one foot out the door, you could always tell him later. In reality you knew you weren’t going to tell him. He would give you his panic face and you’d never hear the end of it. He’d probably get you a babysitter to go with you everywhere. You loved the boy but he needed to chill it with the protective stuff. It was like having another dad. Plus you could protect yourself and that was before the powers.

His laugh brought you back to earth as he waved goodbye. After closing the door behind himself you walked to the computer in your room and started looking sewing patterns. If you were going to be a vigilante than you needed a secret identity. Which not only included a costume but a name. You’d get back to the name later, it needed to be thought out and amazing. Looking in your closet there wasn’t much you could make into an outfit. So grabbing a piece of paper you started sketching out designs for outfits. They weren’t half bad. You knew taking a fashion class last semester would pay off. But who knew it’d be for something like this? 

You decided on black, blue, and yellow for the colors. Then thinking of mobility and actual function you determined that a fairly tight jumpsuit with a hood would do the job. Also putting padding on the knees would help with soft landings. Thinking more towards what benefit your suit could be to your powers you thought of sewing it all with thin copper wire. That would turn your suit into one big conductor of electricity. Adding brass knuckles could not only help with fighting but would add a little electricity to the punch. It needed to be unexpected. Sketching gloves with holes for the brass knuckles your mind raced with different ideas to add to your secret identity. 

Shit, you looked at the time you spent a good couple hours sketching and writing you forgot about your homework. You picked up your bag and spilled all the contents of it onto your desk. You grab a piece of homework from the mess and start working on. But your mind kept wandering back to your secret identity. 

You were going to be a superhero.

Tags:

@stevieboyharrington

@fandomlover03

@markusstraya

@speggehi

@thetimidsarcasticcat

@condy-wants-a-cookie

@feline-space 

Author's Note: This is how I envisioned y/n drew the suit.

[sarealdeal]

Here’s an open letter signed by 584 Swedish actresses about the rampant sexual abuse in their industry. This is the translated version, and so the introduction is slightly changed from the original to include actresses who are known outside of Sweden. If any American or British media outlet has chosen to focus on the wrong thing then that is their problem.

The full letter for those who can’t read it at the source (trigger warning: sexual assault):

It all began with a question to a dozen Swedish actors if we would make a joint statement about #Metoo. The group grew rapidly and after a day, 1100 people had testified about countless instances of abuse throughout their careers.

When perpetrators – who had been kept anonymous in the group – started contacting their victims, we were forced to close the group.

Not even in a secret group, which should be a protected zone, were we allowed to speak out about what we had been through.

The culture of silence is widespread in our industry. Male stars and directors are declared geniuses and protected no matter what they do to their colleagues. Because of their star status, the abuse never has consequences.

However, the testimonies are saved, many of them are collected here and they will be read on stage in Stockholm at a later date.

———

“In an intimate love scene in a bed, on a film set. The atmosphere is aggressive and frustrated. The director doesn’t think we are giving enough. He has just punched his fist straight into the wall, one centimetre away from my male colleague's head. I'm under the covers, wearing only panties, face to face with my colleague. The director asks him to get up, takes his place under the covers and proceeds to show, with caresses and fervour, how he wants my co-star to fondle me."

"In one film I acted alongside one of the most prominent film actors, both in Sweden and abroad. He often made condescending comments about my personal clothes and called them provocatively prudish. At a party he followed me into a hotel room, pushed me hard onto the floor, threw himself over me, held me tight and laughed with a dark look in his eyes. The thought 'he is going to rape me' ran through my head, but somehow I managed to get him off of me and ran. The morning after I had to sit next to him on the flight home, and he gave me a tearful account of his broken life. I told the director about what had happened, but everything continued as usual on set. The only difference was that I was afraid at work."

"A stage manager went to the theatre manager to tell them what the male, esteemed actor subjected the ensemble to in the form of bullying, threats of violence and so on. He came back happy after the meeting; finally he had been listened to. The following day, the theatre manager announced that the actor would be awarded the O'Neill scholarship. Six months later, the stage manager resigned."

“At one of my first jobs, in the theatre elevator, I was pushed up against the wall by an actor in the same production and told to come to his dressing room at three o'clock, otherwise I would not continue working at the theatre. Another time, during a production at ‘The Grand Theatre’, the male lead actor dragged me into the restroom of an exclusive restaurant. He was drunk and forced me to hold his penis while he peed in the sink."

"I was 23 years old and laid on a mattress to rest between rehearsals. One of the conductors came in, asking if he could rub my back. I immediately felt that I didn’t want to, but I couldn’t say no. He sat on top of me and started to massage my back. He then took out his penis and began to masturbate. When he was about to climax he lifted up my shirt and ejaculated on my back. Then he got up and left. Before the show started that night, he took my arm and said that it was nice and it was our secret."

"I was in a film with one of the country's great male stars. He came and went as he pleased, often high, drunk or hungover. The whole team was waiting, sometimes for hours everyday. When he showed up, it was all about keeping him in a good mood and treating him the right way. We had a couple of sensitive scenes together. He never knew his lines, and the script had to be read to him, sentence by sentence – it was basically impossible to work. One day, he took me aside and said I had to understand that he couldn’t remember his lines 'when I was so damn delicious' and all he could think of was how I looked naked and what he would like to do to me."

"I was going to film a love scene with a 'male genius’ actor. The idea was that I would sit on top of him during the sex act. While we were rehearsing he asked in a whisper, if he could suck milk from my stiff breasts (he knew that I was breastfeeding at the time) while pushing his erection against me."

"A drunk male colleague attacked me (by the throat) outside the theatre after a performance. He claimed that what I was doing was crap, whereas he created art. He said I shouldn’t think anything of myself, and so on."

———

The director has immense power over the actors, whose task it is to embody and realise the director's vision. The vulnerability that an actor can experience resembles the feeling of standing in front of a doctor or a psychologist. What does power mean? And what does it cost? What responsibility do you have as an individual if you say ‘yes’ to a position of power in a creative context?

Male actors are often made into stars and given role after role, while women remain replaceable. Male stars are protected by the industry no matter what they do to their colleagues. Because of their elevated status, their abuse never has consequences.

Sexual abuse is related to the power structure within our industry, which is still pervaded by a male-coded genius cult that, ever since Ingmar Bergman's time, allows ‘male geniuses’ to get away with any behaviour as long as they create works of high artistic standard.

———

"At my first meeting with an acknowledged film director, I made it very clear that I wasn’t comfortable being naked in the way it was described in the script. As the day of that particular scene approached, I raised the issue again. The director got angry and told me I could make my own decisions and direct myself. The next day I showed him some underwear I thought I could wear in the scene. He didn’t even want to look at them and scolded me. I was called to a meeting with the female production manager, whom I felt tried to push me into being naked. She explained that the director was devastated that I didn’t trust him. She also explained what large sums of money were involved in the production, and that I was jeopardizing all of it. I did not give in, and did the scene dressed in underwear. I was the only actor on set and throughout the day, the director completely ignored me. When I asked for direction, he refused. He just stared into his monitor and didn’t look at me once. I cried. Women on the team snuck up to tell me 'I see what he's doing'. They comforted me, but no one dared to say anything to him. Another day he wanted me to wear a thin tank top without a bra underneath. I refused and it was made into a big deal. They even called my agent and wanted him to convince me to take off my bra. Between each shot my tears were covered by makeup.

Everyone in the team stayed at the same place, and suddenly I was called to many late-night conversations with the director in his apartment, just him and I. They always consisted of him trying to break me down so he could comfort and hug me. Towards the end of the film production he took me aside, just before a suicide scene, confessing that he was in love with me. Afterwards, I heard that at least two female actors in previous productions received similar love declarations. When I left the production it felt like leaving a sect, or a prison."

"I recently did my first major role in a Danish film production, playing a wife. After dinner at our first meeting, my co-star put his arm around me and said, 'Look at these amazing boobs, I'll get to be around them for weeks! Don’t you tell my wife, she would be so jealous.’ His wife was also in the film. I sat next to her in the makeup room and said nothing. When I was alone in front of the camera in an emotionally demanding, long close-up, my co-star stood behind the backdrop and pulled out his penis ‘as a joke’, he said, because he wanted to ruin my focus when I was becoming too good for his taste."

"I was on a film set where the male star behaved so horribly towards all women, especially those in lower positions, such as makeup and costume assistants, that the company had to hire a chaperone to constantly watch him."

"The first week rehearsals were on the big stage, and the whole ensemble was there. The male star made a joke in front of everyone and suddenly he took a firm grip of my breast. I was so shocked that I screamed, ‘What are you doing?’ as he kept his hand cupped around my breast. He ignored me and it felt like time stood still. Everyone was watching. I saw the others’ eyes widen and their faces blush. I was thinking to myself that someone will do something soon. But there was total silence. Male and female actors whom I have long admired, some of whom are my close friends say nothing. What remains is the shame I feel. During the production process I was scolded by him several times. I was called all possible derogatory names in front of everyone. I tried to talk to him, thinking I could bring it up directly with him instead of going to the producer. I thought I got through to him, but some time after we had stopped working together my agent heard from the producers who said I wouldn’t be considered for future jobs because, ‘There was clearly a problem between her and Mr. X'."

“The entire film crew and actors are staying at the same hotel. One night when I’m sitting alone I hear the director and the actor who plays my husband talk about who will ‘do me’ first. I’m scared and go to my room, which is on the ground floor. All through the night I hear them trying to get into my room, through the door and the window. I asked a male actor whom I had never met before to protect me, which he did, and I’m forever grateful to him."

"The number of times I have been paralysed by discomfort are staggering. At parties male colleagues of all ages have loudly reviewed mine and my female colleagues’ bodies and physical ‘assets’ (or lack of) in an attempt to judge what is desirable in a woman. I was 11 years old the first time it happened. Now, 22 years later, the comments have become more brutal, and the stories about female actors' undesirable behaviours (such as standing up for feminist values) even more prevalent."

"I was raped by an actor colleague. When I told a director I was working with about the assault, he jokingly replied, ‘Now I'm worried you’ll report me for sexual harassment’, referring to the time he tried to kiss me when I was working as his assistant director. He later became theatre manager and employed the rapist as an actor, with the explanation that he was his friend. (The rape was reported to the police, but the investigation has been terminated)."

“I was 13 years old in a theatre play, far from my hometown. Already in the first week I drew the attention of the big male star. I was at the crossroads between child and youth so I didn’t really understand when he was flirting with me or just 'being funny'. One evening we rehearsed late and I had to stay overnight for the first time. I had never kissed anyone before and I remember the horror as he climbs up into my bed and begins to touch and kiss me. I felt the pain of knowing what was about to happen and knowing I didn’t stand a chance to stop it. But, thankfully before he could do what he had set out to do, another actor came in and said something along the lines of, 'No, what are you doing! Come here!'. I couldn’t sleep that night for fear that he would come back. In the morning I washed my mouth with soap, and proceed to act in the same play as that pig the whole summer – the first thorn had pierced me." ”In acting school, horny, disgusting male actors who were supposed to educate young women left us constantly excusing their abuse and groping. Saying ‘no’ meant risking one's entire education."

"I received text messages from a famous male colleague detailing how he was going to fuck me with his ‘grandpa dick’ in every hole. I have only been at ‘THE GRAND THEATRE’ three years and he is permanently employed there so it’s not something I will bring up with the theatre manager.

”I’ve been so drunk ('your own fault, you whore!') that I woke up with a ‘Famous Male Genius’ and only afterwards realised that he’d had sex with me. When I confronted him, he told me he could destroy my career with one phone call. I kept quiet. The shame and the guilt. Never, ever get too drunk."

"I’ve worked with men with criminal records. I’m working with one right now. He flew into a rage during rehearsals. I was scared. There was violence in the air. He was forced to apologise, but the fear remains. If he is in a bad mood, I'll adjust. I’d rather take stupid comments than the violent anger."

"The ‘theatre genius’ director of the play called me during the performance run and told me he wanted me sexually, which became very costly for me personally as well as for the taxpayers. I was contracted to work on his next production and had to resign because he wouldn’t stop calling me even though I asked him to. They had to contract someone else. The producer suggested I would get refunded half of the salary I had lost, if I kept quiet about what had happened. It was two and a half months’ pay, about 130,000 SEK. I told the director he was in a position of power, but he replied that he ‘had not seen himself in that way'. How is that possible for someone who is both a theatre manager, ‘genius’ and director? In addition to the money I lost, it left me with a sense of shame and failure. I was unemployed that autumn.”

“A male lead actor, between takes: `Why have I never fucked you? With that pregnant belly of yours, I’d like to take you from behind against the table

"I was 17 years old and underage. According to the film script, I was supposed to lie in bed sleeping, naked. The moonlight would shine on my back and my behind. I was very nervous about this scene, to the point where I felt sick with worry. The director said I could trust him, it would be so nice with the light and everything. When it was time to shoot the scene it turned out that he didn’t intend to film my back. Instead, he instructs me how to lie on my side and pull one leg up. The camera is not placed behind me, but at the bottom of the bed. As I pull up my leg according to his instructions, the camera shoots straight into my bottom and my vagina. I tried to protest, but didn’t dare to resist because I wanted to be an actor and I wanted to continue making films. Then the male actor, 17 years my senior, was supposed to come into the room and look at my body. The director said that both of us would be so horny we would tremble. He was not happy with the desire I tried to display, laying there naked and afraid. He told me I had to be hornier. When we were done he added an extra nude scene that was not included in the script. Later, I received emails from him where he told me he dreamed beautiful erotic dreams about me."

"It’s the 1990’s and I’m sitting in the office of a fringe theatre group. I’m talking on the phone. Suddenly a male actor comes in, unzips his fly and stuffs his penis into my mouth. ‘To silence me’, he said, “I was too cocky’."

"The lead actor initiated a campaign of nagging me to have sex with him. He said it straight out. I immediately told him I wasn’t at all interested, but he continued throughout the period we worked together. His nagging was constant: ‘Come on, please, let’s have sex, just once, I know you really want to, you can at least blow me, please.’ I tried different ways of handling both him and the situation by confronting him; ignoring him; I told him I found it offensive; I threatened to contact his wife – nothing worked. In the end, I talked to the producer who said, ‘He was probably not being very serious, just a bit of fun.’ Her advice was to 'joke back'."

"I admired them so much. Some of the biggest actors. One who played my dad grabbed my neck and tried to shove his tongue into my mouth the first time we met. He had to be horny when he acted, he said. Once a playwright who wrote me a big role in his play suddenly grabbed my breasts in the dark behind the stage. He wanted me to be naked in a scene, until I became pregnant. ‘You women with your fucking pussies’, he said. With time you learn to navigate around their sexuality. To say ‘no thanks’ without hurting their ego. In the process, I also became part of a structure that allowed them to continue. Production after production, my admiration gradually turned into contempt towards the men who abused, but also for those who had the power to say ‘no’. Those who made decisions. And not least, contempt for myself. Because I didn’t dare to tell them to go to hell."

———

Directors, you have failed. Producers, you have failed. Production companies, you have failed. Theatre managers, you have failed. Politicians, you have failed. It is your responsibility to ensure that nobody is sexually abused at the workplace.

We demand that employers (film companies, theatres, book publishers and television channels) stop protecting, hiring and making money on perpetrators.

We demand zero tolerance against sexual exploitation and violence. Sexual abuse or violence must lead to consequences in the form of termination of contract and possibly pursuit of criminal prosecution.

We will find strength in all the stories we have shared and all the stories we have learned.

We will continue to listen to each other and support each other.

We will no longer be silent.

We will bring those responsible to account and let the justice system run its course when needed.

We will put the shame where it belongs – with the perpetrator and those who protect him.

We know who you are.

584 female actors stand behind this call. We speak with one voice and we will not comment on the content of this article. A no is a no – respect that!

Support the call by using the hashtag #tystnadtagning (#silenceaction).

Then it is signed by 584 actresses (sarealdeal’s note)

[cockvengers]

Final Great Comet Notes (1/2)

So I went to see Comet on September 2nd (matinee) and September 3rd (closing) with a friend. Some of the musings apply to both shows but I’ll try to go in some sort of order. The first part is primarily related to the show on the 2nd.

September 2nd:

For this show we were in the stage right (house left) banquettes. We were in row D in the aisle closest to the center of the stage.

It was our first time sitting on the stage and it did not disappoint.

Brandt gave us each a dumpling and gave the pre-show spiel

Got our first look at Blaine as Andrei

Dave got applause during entrance which seemed like a lot at the time but looking back it was nothing compared to Sunday.

During prologue Josh Canfield raced up some steps, leaned over and sang in my face.

Meanwhile, my friend made roughly 30 seconds of eye contact with Amber Gray. It ended with Amber winking at her.

It was my first time seeing Brad and he was really stand out to me.

During Pierre Dave’s voice was sufficently gravel-ly. A++

I enjoyed to see the good Russian men part because you can’t see most of it from the mezz where I sat the past and I always enjoy watching Anatole and Dolokhov party

Moscow was amazing from the stage. All of Grace’s micro expressions were amazing (as was her voice but you guys knew that). I also loved Sonya and Natasha imitating her. I forgot about that part from the last time and it was great.

Quiet and Intimate Life was great as usual. Gelsey’s voice is so impressive. What I watched most was Blaine’s performance. I really liked what I heard from the recordings of Blaine as Anatole so I was curious to see him as Andrei and Bolkonsky.

I felt he was just as intimidating as Nick but that may have been in part because we were sitting so close. His cough/hack thing was great.

When he was walking around his wig fell off and he gave a very in character screech and picked it up as if that was one more thing he had forgotten.

If I hadn’t seen the show before I probably would have thought it was supposed to happen

During No One Else Denée sang “...And flying away, like thisss” at me and damn. I now know how Pierre feels. I would ask to marry Natasha if I was the brightest, best lady on earth.

THE OPERA. THE OPERA. I love the ensembles outfits up close. I think Heath’s is my favorite here.

Paul Pinto has to introduce everyone and then change really quickly to be in the opera and I know it probably just overlays the costume he’s already wearing but it struck me as impressive because I never saw him leave the stage

The Duel was one of my favorites. I was way more adjusted to the strobes than the first time and wow, I loved all the costumes. Shoba’s dress stood out to me the most from the stage.

I like that Anatole slaps Dolokhov’s ass around here though from our seat it was hard to tell if it was a slap or a grope.

The increasingly frantic motions Anatole makes for Dolokhov to stop talking about his wife

Azudi and Lulu sat next to me during the duel portion and Azudi was acting hyped up and angry. I didn’t realize he gets into a fight with Andrew (if I remember correctly) on the other side of the stage during the stobe portion.

Also, I had read Brittain and Paul mimed having sex during The Duel but I was ill prepared for how much and how many positions they were intimate in. Damn.  

This was my first time hearing Dust and Ashes with Dave singing. It’s very different from Josh or Oak (or Scott from what I heard in recordings) but it was still very good because Dave just kind of embodies the awkwardness of Pierre. It ended with applause.

Sunday Morning. GUYS. If you haven’t read the Genius annotations you might not know but PIERRE IS IN THE MIRROR. Such great staging.

Charming is always my favorite. I love watching Amber and Denée spin.

The Ball. So my favorite costume is still Pearl’s (her headpiece is to die for) but I couldn’t see it that closely.

Letters is such a bop. Cathryn was near us at the start and she’s just adorable.

Natasha and Sonya and then Sonya Alone killed me inside. Sonya is TOO good for this musical. She is the one who shouldn’t be here putting up with this crap.

Preparations --> Balaga --> The Abduction were amazing as always.

My favorite is that Nick Choksi yelled “NO!” while his mic was off in response to Anatole’s “If this marriage is invalid then I’m off the hook”. It was the first time I had heard him do that (he also did it Sunday) and I really liked it.

Dolokhov seemed more angry than usual during Preparations. Usually he’s just exasperated but today Nick was extra fierce.

While on stage you can really tell how sweaty everyone is. It’s just wow.

Helene and Marya’s kiss was A++ as always.

Lauren threw a huge pile of War and Peace pages and 90% of them landed on us. Including pages 665 and 666 which are the pages that explain how Pierre determines Napoleon is the anti-christ. I kid you not.

Okay so the conductor actually play a penny whistle during “Dolokhov whistles” super good.

While we’re on the subject of the music. Dave has so many little musical parts while he’s in Pierre’s sadness circlestudy

When Helene sings “Anatole, come Anatole, Anatole hush” there is such an intimate moment between the siblings that happened right next to my seat. Anatole is frantic and Helene has his head in her hands and is whispering comforting words trying to calm him.

When Pierre calls Anatole is shaking his head and Helene tells him he must go (to Pierre) but you can tell it breaks her heart.

Helene continues to have her soul crushed as she watched Pierre and Anatole fight and honestly, I feel so much for Helene in that moment. Amber Gray is just fantastic.

The rest of the show went as usual. Paul jumped a lot of steps for bows.

Stage door was hugely crowded and even that was nothing compared to the next day. Everyone but Brandt, Amber, Denée, Reed, Lulu, Lauren, Shoba, Katrina, Nick Gaswirth (who was out, I think Celia might have been on for him because she was definitely on) came out.

Paloma Young came out and talked to us about our favorite costumes and she signed my book

[writerspink]

K-12 Words

K

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1.1

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1.2

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2.1

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2.2

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3.1

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3.2

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4.1

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4.2

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5.1

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5.2

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6.1

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6.2

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7.1

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7.2

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8.1

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8.2

exclude civic compact painstaking supplement habitat leeway minute hoax contaminate likeness migration commentary extinct tangible originate urban unanimous subordinate collaborate obstacle esteem encounter futile cordial trait improvises superior exaggerate anticipate cope evolve eclipse dissent anguish subsequent sanctuary formulates makeshift controversy diversity terminate precise equivalent pamper prior potential obnoxious radiant predatory presume permanent pending simultaneously tamper supervise perceived vicious patronize trickle stodgy rant oration preview species poised perturb vista wince yearn persist shirk status tragedy trivial snare vindictive wrath recede peevish rupture unscathed random toxic void orthodox subtle resume sequel upright wary overwhelm perjury uncertainty prowess utmost throb pluck pique vengeance pelt urgent substantial robust sullen retort ponder whim saga sham reprimand vocation assimilate dub defect accord embark desist dialect chastise banter inaugurate ovation barter muse blasé stamina atrocity deter principal liberal epoch preposterous advocate audacious dispatch incense deplore institute deceptive component subside spontaneous bonanza ultimate wrangle clarify hindrance irascible plausible profound infinite accomplish apparent capacity civilian conceal duplicate keen provoke spurt undoing vast withdraw barrier calculate compose considerable deputy industrious jolt loot rejoice reliable senseless shrivel alternate demolish energetic enforce feat hearty mature observant primary resign strive verdict brisk cherish considerate displace downfall estimate humiliate identical improper poll soothe vicinity abolish appeal brittle condemn descend dictator expand famine portable prey thrifty visual

9.1

stance vie instill exceptional avail strident formidable rebuke enhance benign perspective tedious aloof encroach memoir mien desolate inventive prodigy staple stint fallacy grope vilify recur assail tirade antics recourse clad jurisdiction caption pseudonym reception humane ornate sage ungainly overt sedative amiss convey connoisseur rational enigma fortify servile fastidious contagious elite disgruntled eccentric pioneer abet luminous era sleek serene proficient rue articulate awry pungent wage deploy anarchy culminate inventory commemorate muster adept durable foreboding lucrative modify authority transition confiscate pivotal analogy avid flair ferret decree voracious imperative grapple deface augment shackle legendary trepidation discern glut cache endeavor attribute phenomenon balmy bizarre gullible loll rankle decipher sublime rubble renounce porous turbulent heritage hover pithy allot minimize agile renown fend revenue versa gaunt haven dire doctrine intricate conservative exotic facilitate bountiful cite panorama swelter foster indifferent millennium gingerly conscientious intervene mercenary citadel obviously rely supportive sympathy weakling atmosphere decay gradual impact noticeable recede stability variation approximately astronomical calculation criterion diameter evaluate orbit sphere agricultural decline disorder identify probable thrive expected widespread bulletin contribution diversity enlist intercept operation recruit survival abruptly ally collide confident conflict protective taunt adaptation dormant forage frigid hibernate insulate export glisten influence landscape native plantation restore urge blare connection errand exchange

9.2

feasible teem pang vice tycoon succumb capacious onslaught excerpt eventful forfeit crusade tract haggard susceptible exemplify ardent crucial excruciating embargo disdain apprehend surpass sporadic flustered languish conventional disposition theme plunder ignore project complaint title dramatic delivery litter experimental clinic arrogance preparation remind atomic occasional conscious deny maturity closure stressed translator animate observation physical further gently registration suppress combination amazing constructive allied poetry passion ecstasy mystery cheerful contribution spirit failed gummy commerce prove disagreement raid consume embarrass preference migrant devour encouragement quote mythology destined destination illuminating struggle accent ungrateful giggle approval confidence expose scientist operation superstitious emergency manners absolutely swallow readily mutual bound crisp orient stress sort stare comfort verbal heel challenging advertisement envious sex scar astonish basis accuracy enviable alliance specific chef embarrassed counter tolerable sympathetic gradually vanish informative amaze royal furry insist jealousy simplify quiver collaborate dedicated flexible function mimic obstacle technique archaeologist fragment historian intact preserve reconstruct remnant commence deed exaggeration heroic impress pose saunter wring astound concealed inquisitive interpret perplexed precise reconsider suspicious anticipation defy entitled neutral outspoken reserved sought equal absorb affect circulate conserve cycle necessity seep barren expression meaningful plume focused genius perspective prospect stunned superb transition assume guarantee nominate

10.1

install reticent corroborate regretfully strength murder concise cunning intention holy satire query confused progression disillusion background mundane abrupt multiple enormously introduce emulate harmful pragmatic pity rebut liberate enthusiastic elucidate camaraderie disparage nature creep profitability impression racist sobriety occupy autonomy currently amiable reiterate reproduce cripple modest offer atom provincial augment ungratefully expansion yield rashly allude immigration silence epitome exacerbate somber avid dispute vindicate collaborate manufacturer embellish superficial propaganda incompetent objective diminish statistics endure ambivalent perpetuate illuminate phenomenon exasperate originality restrict anxiety anthropology circumstances aesthetic manufacturing conventional dubious vulnerable reality precedent entity success term critical repair underscore stepmother republican hesitantly classic wary contents prediction immediate invoke notorious implicit excluding input skeptical foster element punish frank humanity profound dessert orthodox substance disappear encourage neighborhood elder superfluous naive ascertain complacent resilient deafening military tend prudent glare acceptance skillfully induce monster beam gullible conciliate vessel petty cantankerous disclose archaeology anecdote disdain electronics substantiate subjective tourism advisable joyful incredible provocative psychological ruins discipline condone indifferent misfortune judgmental industrialize tasty assume astute mission mar protective definitely escape oppress shocked virtual zealous endorse qualification hostile eccentric abstract disparate geographical scrutinize generalization tolerate activity claim dogmatic influential obsolete extol implausible subsequent resource chronic benevolent improve confidential ambiguous seriously dearth perplex hatred throughout dine contemporary evoke essentially economic flagrant obscure alleviate eloquent dreaadful clumsy sympathy victim condemn vigor condescend spontaneous quell reprehensible substantially sleeve equivocal ironic decry errand articulate progressive eradicate refreshments elicit aspiration recently exemplary bribery theoretical disingenuous partisan revere particle nostalgia self-aggrandizement debunk tyranny rhetoric hierarchy warning whimsical venerate commend assert miserable awful vibe constrain undermine explicit differentiate compliment scrupulous contempt erroneous ideal refute imply cynical rash presume insight revival vary delay renounce indignant offensive temperate circumstantial export peep logo advertise suppress distort chunk convoluted denounce overwhelming fertility rigorous acquire arrogant university antagonize profitable indulgent strategic breathing idiosyncrasy profession frugal discern accommodation adversary incredulous disturbance digress social belie roam smug continual pertinent voluntarily elite subtle blame sincerity lick horror censure involvement candid infer futile impetuous exploit bewilder sustain diligent sincere protect sealed musical empathy callous parenthetical insure acorn sarcasm seize sacrificially allege emphatic irrelevant progress diplomatic stunned improvise deride reconcile meticulous deject scientifically incontrovertible pressure justify gloomy depict supplant endurance analogous diary bolster slip contemplate pesticide glow religious advocate negligent creator lament fundamental embrace throne inherent inferior valuable thrive trivial pretense reserved capricious refresh refusal flight boost explanation coherent prevalent tenacious official royalty assassin rub poach delete

10.2

warrant circumscribed somewhat explosive optimistic mandate previously detract opinion intuitive feasible intimate persistent humble simplicity tempt deliberate painful unethical fundamentals discrepancy remorse pessimistic possibility conclusion acknowledge impregnate soberly creation paralyze suitability oblige tranquil medal arbitrate pacify illusory susceptible vibrate vengeance infection democratic stressful grave speculative sample identification stifle obligation revenge organization namely mediocre practical scream weaken consensus affectionate deficient treacherous console isolation ingenious memory melodrama despair awestruck composition regret recommendation celebrity decision devoid opaque ornamentation longevity participate dread restore interrogate aid accordingly mislead embarrassment optimism domestic apt funds virtue geography fundamentally thoroughly press despite horrible chilling rental esteemed disappointment innovative contemplation assign popularize haunt deafen serene percent estrangement suffer extravagant throng estimate comment priesthood mass dreadfully promote periphery animated saying relate clarity triple derivative succeed distortion register suicide improvement discreet inquisition probable curative incident praise convenience baffle covet dreadful genuinely weary undisturbed disgruntled humility renown nonchalant monopoly comedy vague decisive inconsequential announcement fabricated nevertheless vigilant scarce neglectful hushed attainment tedious explode snatch pslm agency sentimental tension adhere meanwhile sacred avert conformity likewise challenger accessible responsibility peril contact event roast fallible catastrophic competitor violate resolute deceive exaggeration discredit intolerable approve paste dimly novelist demeanor norm politician satisfaction obvious vehicle reservation defer involve restoration crush audible assistant backpack attain inanimate commemorate confrontation emigration parasite disperse quantitative laughter policy vulgar occasionally repay effective eulogy starvation empty therapeutic overall immortal encompass inappropriate opportune engagement illustrate turmoil observatory classification expression reminiscence comedian invention depress remedy protagonist gesture texture diplomatic election prolong conducive emotional invigorate curiosity expressive %

K-12 Words was originally published on PinkWrite

[thedesperatehousehusband]

Academy Awards For Everyone!!!

It’s a wonderful night for Oscar. Oscar. Oscar. Who will win?? I can’t take credit for that line. It’s a Billy Crystal line from his 140,000 times of hosting the Oscars. Also known as the Academy Awards. It’s time, Lord.

We started the show with Justin Timberlake doing his thing. It was fine. He needs to learn to lip sync better. And what was Jessica Biel wearing? Was that thing around her neck jewelry or part of the dress? She actually looked like an Oscar statue.

Jimmy Kimmel. He’s not for the Oscars. He doesn’t care. But he’s funny as fuck. His monologue was great. I loved when he made fun of Matt Damon. The fake feud between Matt Damon and Jimmy Kimmel has been going on for like 11 years or some shit. That’s hilarious. And that recent movie that Matt Damon is in does actually like a steaming pile of horse dung. I thank Jimmy Kimmel for saying so.

Thanks GAWD Mahershala Ali won for Moonlight. That movie is remarkable and, let’s face it, the Oscars can’t deal with another racial controversy. #oscarssowhite no more. I’m joking a lot, a lot, a lot. Mahershala Ali 100% was my choice. His portrayal of “Juan” was wonderful , inspiring, raw, real and his presence was felt long after his character wasn’t on screen anymore.

Halle Berry’s hair is uncalled for. What is wrong with her?

You can’t go wrong with either Kate McKinnon or Jason Bateman. I gotta tell you. If I had a “list”, Jason Bateman would be on it. Good for Suicide Squad for winning an Oscar for Make Up. It’s all you’re gonna get. And Colleen Atwood seemed really surprised. Bless her heart. Bitch, you get nominated errrrrry year for your costumes. Fantastic Beasts and Where to Find Them had some good ass costumes.

That girl from Moana did a fine job. She got through it. She worked it out.

God bless the French man from Arrival who won for Sound Editing. That movie was terrific. We really loved it. Hacksaw Ridge won for Sound Mixing. I’ve probably said this before but I can’t fucking remember year to year what I talk about in this posts. But I don’t have a clue what the difference is between Sound Mixing and Sound Editing. In one do the fart noises sound better? We can’t see Hacksaw Ridge. Mel Gibson is the demon spawn of Satan and we cannot support him. Regardless of whether or not the movie is amazing.

Mark Rylance, that hat is ridiculous. You’re better than that. What is wrong with him?

VIOLA DAVIS! Girl came dressed to win. That dress is insane. The shoes. THE SHOES. But let’s just talk about her role in Fences. She completely owned that role. You could feel every bit of the pain she felt and the ordinary struggle of being a black housewife in the 1950s. Love, love, love that she won.

The movie from Iran won best Foreign Film. The director couldn’t/wouldn’t come (I’m truly not sure which) due to the travel ban and the continued foolishness of the Orange One. Making a statement by not showing up. That’s a good statement. Plus then your Oscar got accepted by Shirley MacLaine. Because that doesn’t happen every day.

This song by Sting is a real sleeper. I suppose it’s an important message but the song is bland. Trudie Styler has been nipped and tucked to an extreme degree.

I don’t know what to think of Hailee Steinfeld’s dress. It sort of looks cool but it sort of looks like Saran Wrap. I think she’s too young to wear that dress. Zootopia just won for Best Animated Feature. Good for Disney. It was such a great movie. Funny, touching, poignant and includes voiceover work from Jason Bateman. That’s why it won.

OK. I literally cannot with Dakota Johnson’s dress. So because you’re in a movie about bondage and sexy shit you decide to wear a dress that looks like you’re one of the mole people on Kimmy Schmidt? Jesus Christ. That fabric. Is it from Dollar General? Who is this kookie couple from La La Land who is giving a boring ass speech about production design and set decoration? The conductor is right to play them off. Potentially the most lifeless speech ever.

So Jimmy Kimmel is good for a good prank or a gag. This business with the Hollywood tour bus that then showed up randomly at the Oscars was brilliant. I love good comedy bits. It’s good fun.

Halle Berry. You look ridiculous.

Michael J. Fox. Things don’t seem great. Ugh. I don’t like to see it. Heartbreaking beyond belief. I have a fair amount of continued surprise over the lack of wins for La La Land. With the Editing award just went to Hacksaw Ridge. Which at this point has one more awards than La La Land. I just do not care about this movie one iota. I’d sooner have explosive diarrhea than watch this movie.

Well, I guess Meryl Streep is not interested in making an impassioned speech tonight. That’s fine. The Prez doesn’t have anything better to do than to Tweet about actresses who are critical of him. What a narcissistic asshat. La La Land deserves to win for Cinematography.

Mean Tweets! Yes. This bit is so smart and hilarious on Jimmy Kimmel Live. Robert DeNiro….and soon I’ll be playing great-grandfather roles. Fuck you. Totes brillz.

Color me surprised. La La Land won for Score. Stop it. An original movie musical won an award for MUSIC at the Oscars?

What is on Scarlett Johansson’s head? Because it can’t be hair. That dress is too much. I don’t care for it. Woo hoo! La La Land gets the Original Song award too. It’s taken a few hours bur La La Land is finally picking up steam.

Jennifer Anniston wears that dress every time. But I don’t care. She knows what works for her and it looks outstanding. Love her to pieces. She’s America’s sweetheart. Sara Bareilles did a lovely job with the In Memoriam segment.

OMG. Jimmy Kimmel is relentless with Matt Damon. Talking about how We Bought a Zoo was his favorite movie then trying to play him off while he and Ben presented Original Screenplay. I have to tell you I’m stunned that Kenneth Lonergan won for Manchester By the Sea. It was such a hard movie. Hard to watch. Hard to enjoy. But remarkably well done.

Amy Adams looks like Jessica Rabbit. And that’s a good thing. Moonlight wins for Adapted Screenplay. I think there’s been some hullabaloo about this film being in this category but who cares? It was a great movie and a moving script. Great speeches. “For the the next four years, we got you.” Yes. Yes. Yes. This shit……it’s too much.

Oh, Lord. Her she is. Halle Berry and that hair. It seems to be growing and morphing through the course of the night. I think it might be alive. I’m elated that Damien Chazelle won. He’s a creative force. He should be honored for this film and will likely be honored for other films in the future.

Uh oh. Brie Larson has lost some weight. She’s fading way into the background. I really want Casey Affleck to win Best Actor. I just don’t know that he will. We shall see. In about 45 seconds. YESSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS!!!! I’m over the moon. Manchester By the Sea is a terribly difficult film to get through but Casey Affleck is the roots. The heart of the film. I know there’s other shit going down. I’m OK keeping that separate. Was it just me or did Denzel not look pleased? I think he thought he was gon win.

Leo looks like he bathed. Bless his heart. He often looks unclean. Yay!!!!!!!!! Emma Stone is a talent and completely adorable. I love her in anything.

And Best Picture is………….La La Land. Of course it is! I don’t care what anyone says about the ending. I simply loved this movie. CORRECTION! CORRECTION! Apparently if you go to bed in less than 45 seconds after the announcement of Best Picture, there might be a kerfuffle. HOLY COW! What a mess up. I can’t even believe it. Moonlight won. Evidently, Warren Beatty and Faye Dunaway had the Best Actress envelope and that’s why Warren Beatty was confused. I’ll tell you I’m perfectly fine with Moonlight. It was the movie that most moved me and stayed with me. What a clusterfuck. 

And good night. It’s time for bed. It’s really fucking late.

[blackkudos]

Alvin Ailey

Alvin Ailey (January 5, 1931 – December 1, 1989) was an African-American choreographer and activist who founded the Alvin Ailey American Dance Theater in New York City. He is credited with popularizing modern dance and revolutionizing African-American participation in 20th-century concert dance. His company gained the nickname "Cultural Ambassador to the World" because of its extensive international touring. Ailey's choreographic masterpiece Revelations is believed to be the best known and most often seen modern dance performance. In 1977, Ailey was awarded the Spingarn Medal from the NAACP. He received the Kennedy Center Honors in 1988, just one year before his death. In 2014, President Barack Obama selected Ailey to be a posthumous recipient of the Presidential Medal of Freedom.

Early years

Ailey was born to his 17-year-old mother, Lula Elizabeth Ailey, in Rogers, Texas. His father, also named Alvin, abandoned the family when Alvin was only six months old. Like many African Americans living in Texas during the Great Depression, Ailey and his mother moved often and had a hard time finding work.

Ailey grew up during a time of racial segregation, violence and lynchings against African Americans. Early experiences in the Southern Baptist church and juke joints instilled in him a fierce sense of black pride that would later figure prominently in Ailey's signature works.

In the fall of 1942, Ailey's mother, in common with many African Americans, migrated to Los Angeles, California, where she heard of lucrative work supporting the war effort. Ailey, aged 11, joined his mother later by train, having stayed behind in Texas to finish out the school year. Ailey's first junior high school in California was located in a primarily white school district. As one of the few black students, Ailey felt out of place because of his fear of whites, so the Aileys moved to a predominantly black school district. He matriculated at George Washington Carver Junior High School, and later attended the Thomas Jefferson High School. He sang spirituals in the glee club, wrote poetry, and demonstrated a talent for languages. He regularly attended shows at Lincoln Theater and the Orpheum Theater. Ailey did not become serious about dance until in 1949 his school friend Carmen De Lavallade introduced him to the Hollywood studio of Lester Horton. Horton would prove to be Ailey's major influence, becoming a mentor and giving him both a technique and a foundation with which to grow artistically.

Horton's school taught a wide range of dance styles and techniques, including classical ballet, jazz, and Native American dance. Alvin quickly fell in love with dance. Horton's school was also the first multi-racial dance school in the United States. Ailey was, at first, ambivalent about becoming a professional dancer. He had studied Romance languages at various universities in California, but was restless, academically, and took courses as well in the writings of James Baldwin, Langston Hughes, and Carson McCullers. He moved to San Francisco to continue his studies in 1951. There, he met Marguerite Johnson, who later changed her name to Maya Angelou. They occasionally performed a nightclub act called "Al and Rita". Ailey earned a living waiting tables and dancing at the New Orleans Champagne Supper Club. Eventually, he returned to study dance with Horton in southern California.

The Horton Dance Company

He was introduced to the company through Carmen, a lifelong friend. At the age of 22 Ailey began full-time study at Horton's school. He joined Horton's company in 1953, making his debut in Horton's Revue Le Bal Caribe. It was during this period that Ailey performed in several Hollywood films. Like all of Horton's students, Ailey studied other art forms, including painting, acting, music, set design, and costuming, as well as ballet and other forms of modern and ethnic dance.

When Horton died in November 1953 the tragedy left the company without an artistic director. The company had outstanding contracts that required and desired new works. When no one else stepped forward, Ailey assumed the role of artistic director. Despite his youth and lack of experience (Ailey was only 22 years old and had choreographed only one dance in a workshop) he began choreographing, directing scene and costume designs, and running rehearsal and he also directed one of the shows for the company.

New York

In 1954, he and his friend Carmen De Lavallade were invited to New York to dance in the Broadway show, House of Flowers by Truman Capote, starring Pearl Bailey and Diahann Carroll. He also appeared in Sing, Man, Sing (1956, starring Harry Belafonte) and in Jamaica (1957) with Lena Horne and Ricardo Montalbán. The New York modern dance scene in the fifties was not to Ailey's taste. He observed the classes of modern dance contemporaries such as Martha Graham, Doris Humphrey, and José Limón. He felt Graham's dancing "finicky and strange" and disliked the techniques of both Humphrey and Limón. Ailey expressed disappointment at not being able to find a technique similar to Horton's. Not finding a mentor, he began creating works of his own.

Alvin Ailey Dance Theater

Ailey formed his own group, Alvin Ailey American Dance Theater, in 1958. The group presented its inaugural concert on March 30, 1958. Notable early work included Blues Suite, a piece deriving from blues songs. Ailey's choreography was a dynamic and vibrant mix growing out of his previous training in ballet, modern dance, jazz, and African dance techniques. Ailey insisted upon a complete theatrical experience, including costumes, lighting, and make-up. A work of intense emotional appeal expressing the pain and anger of African Americans, Blues Suite was an instant success and defined Ailey's style.

For his signature work, Revelations, Ailey drew upon his "blood memories" of Texas, the blues, spirituals, and gospel. These forces resulted in the creation of his most popular and critically acclaimed work. Ailey originally intended the dance to be the second part of a larger, evening-length survey of African-American music which he began with Blues Suite.

Although Ailey created 79 works for his dancers, he maintained that his company was not merely a showcase for his own work. Today, the company continues Ailey's vision by performing important works from the past and commissioning new additions to the repertoire. In all, more than 200 works by over 70 choreographers have been performed by the company.

Ailey was proud that his company was multi-racial. While he wanted to give opportunities to black dancers, who were frequently excluded from performances by racist attitudes at the time, he also wanted to rise above issues of negritude. His company always employed artists based solely on artistic talent and integrity regardless of their race.

Ailey continued to create work for his own company and also choreographed for other companies.

In 1962 the U.S. State Department sponsored the Alvin Ailey Dance Company's first overseas tour. Ailey was suspicious of his government benefactors' motives. He suspected they were propagandistic, seeking to advertise a false tolerance by showcasing a modern Negro dance group.

In 1970, Ailey was honored by a commission to create The River for the American Ballet Theatre (ABT). He viewed The River, which he based on the music of composer Duke Ellington, as a chance to work with some of the finest ballet dancers in the world, particularly with the great dramatic ballerina Sallie Wilson. The ABT, however, insisted that the leading male role be danced by the only black man in the company, despite misgivings by Ailey and others about the dancer's talent.

Cry (1971) was one of Ailey's greatest successes. He dedicated it to his mother and black women everywhere. It became a signature piece for Judith Jamison.

The Alvin Ailey Dance Theater was constructed by Tishman Realty and Construction Corporation of New York, Manhattan's largest builder.

Technique

Ailey made use of any combination of dance techniques that best suited the theatrical moment. Valuing eclecticism, he created more a dance style than a technique. He said that what he wanted from a dancer was a long, unbroken leg line and deftly articulated legs and feet ("a ballet bottom") combined with a dramatically expressive upper torso ("a modern top"). "What I like is the line and technical range that classical ballet gives to the body. But I still want to project to the audience the expressiveness that only modern dance offers, especially for the inner kinds of things."

Ailey's dancers came to his company with training from a variety of other schools, from ballet to modern and jazz and later hip-hop. He was unique in that he did not train his dancers in a specific technique before they performed his choreography. He approached his dancers more in the manner of a jazz conductor, requiring them to infuse his choreography with a personal style that best suited their individual talents. This openness to input from dancers heralded a paradigm shift that brought concert dance into harmony with other forms of African-American expression, including big band jazz.

In 1992 Alvin Ailey was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, NY.

Personal life

Ailey kept his life as a dancer a secret from his mother for the first two years.

For a time during the 1950s, Ailey was romantically involved with political activist David McReynolds.

Ailey died on December 1, 1989 at the age of 58. To spare his mother the social stigma of his death from HIV/AIDS, he asked his doctor to announce that he had died of terminal blood dyscrasia.

Choreography

Cinco Latinos, Alvin Ailey American Dance Theatre, Kaufmann Concert Hall, New York City, 1958.

Blues Suite (also see below), Alvin Ailey American Dance Theatre,Kaufmann Concert Hall, 1958.

Revelations, Alvin Ailey American Dance Theatre, Kaufmann ConcertHall, 1960

Three for Now, Alvin Ailey American Dance Theatre, Clark Center, New York City, 1960.

Knoxville: Summer of 1915, Alvin Ailey American Dance Theatre, Clark Center, 1960.

(With Carmen De Lavallade) Roots of the Blues, Lewisohn Stadium, New York City, 1961.

Hermit Songs, Alvin Ailey American Dance Theatre, Library of Congress, Washington, D.C., 1963.

Ariadne, Harkness Ballet, Opera Comique, Paris, 1965.

Macumba, Harkness Ballet, Gran Teatro del Liceo, Barcelona, Spain,1966, then produced as Yemanja, Chicago Opera House, 1967.

Quintet, Alvin Ailey American Dance Theatre, Church Hill Theatre, Edinburgh Festival, Scotland, 1968, then Billy Rose Theatre, New York City, 1969.

Masekela Langage, Alvin Ailey American Dance Theatre, American Dance Festival, New London, Connecticut, 1969, then Brooklyn Academy of Music, New York City, 1969.

Streams (also see below), Alvin Ailey American Dance Theatre, Brooklyn Academy of Music, 1970.

Gymnopedies, Alvin Ailey American Dance Theatre, Brooklyn Academy of Music, 1970.

The River, American Ballet Theatre, New York State Theater, 1970.

Flowers, Alvin Ailey American Dance Theatre, ANTA Theatre, 1971.

Myth, Alvin Ailey American Dance Theatre, New York City Center, 1971.

Choral Dances, Alvin Ailey American Dance Theatre, New York City Center, 1971.

Cry, Alvin Ailey American Dance Theatre, New York City Center, 1971.

Mingus Dances, Robert Joffrey Company, New York City Center, 1971.

Mary Lou's Mass, Alvin Ailey American Dance Theatre, New York City Center, 1971.

Song for You, Alvin Ailey American Dance Theatre, New York City Center, 1972.

The Lark Ascending, Alvin Ailey American Dance Theatre, New York City Center, 1972.

Love Songs, Alvin Ailey City Center Dance Theater, New York City Center, 1972.

Shaken Angels, 10th New York Dance Festival, Delacorte Theatre, New York City, 1972.

Sea Change, American Ballet Theatre, Kennedy Center Opera House, Washington, D.C., 1972, then New York City Center, 1973.

Hidden Rites, Alvin Ailey City Center Dance Theater, New York City Center, 1973.

Archipelago, 1971,

The Mooche, 1975,

Night Creature, 1975,

Pas de "Duke", 1976,

Memoria, 1979,

Phases, 1980

Landscape, 1981.

Stage

Acting and dancing

(Broadway debut) House of Flowers, Alvin Theatre, New York City, 1954 - Actor and dancer.

The Carefree Tree, 1955 - Actor and dancer.

Sing, Man, Sing, 1956 - Actor and dancer.

Show Boat, Marine Theatre, Jones Beach, New York, 1957 - Actor and dancer.

Jamaica, Imperial Theatre, New York City, 1957 - Actor and lead dance.

Call Me By My Rightful Name, One Sheridan Square Theatre, 1961 - Paul.

Ding Dong Bell, Westport Country Playhouse, 1961 - Negro Political Leader.

Blackstone Boulevard, Talking to You, produced as double-bill in 2 by Saroyan, East End Theatre, New York City, 1961-62.

Tiger, Tiger, Burning Bright, Booth Theatre, 1962 - Clarence Morris.

Stage choreography

Carmen Jones, Theatre in the Park, 1959.

Jamaica, Music Circus, Lambertville, New Jersey, 1959.

Dark of the Moon, Lenox Hill Playhouse, 1960.

(And director) African Holiday (musical), Apollo Theatre, New York City, 1960, then produced at Howard Theatre, Washington, D.C., 1960.

Feast of Ashes (ballet), Robert Joffrey Company, Teatro San Carlos, Lisbon, Portugal, 1962, then produced at New York City Center, 1971.

Antony and Cleopatra, Metropolitan Opera House, Lincoln Center, New York City, 1966.

La Strada, first produced at Lunt-Fontanne Theatre, 1969.

(With others) Mass, Metropolitan Opera House, 1972, then John F. Kennedy Center for the Performing Arts, Washington, D.C., and Philadelphia Academy of Music, both 1972.

Carmen, Metropolitan Opera, 1972.

Choreographed ballet, Lord Byron (opera; also see below), Juilliard School of Music, New York City, 1972.

Four Saints in Three Acts, Piccolo Met, New York City, 1973.

Director

(With William Hairston) Jerico-Jim Crow, The Sanctuary, New York City, 1964, then Greenwich Mews Theatre, 1968.

Film

Film appearances

(Film debut) Dancer, Lydia Bailey, Twentieth-Century Fox, 1952

Dancer, Carmen Jones, Twentieth-Century Fox, 1954

Film choreography

Choreographer (with others), The Turning Point, Twentieth-Century Fox, 1977.

Television

Television appearances

Dancer (with Horton Company), Party at Ciro's (also see below), 1954.

Dancer (with Horton Company), Red Skelton Show (also see below), CBS, 1954.

(With Alvin Ailey American Dance Theatre) Dave Garroway Today Show, NBC, 1959.

(With Alvin Ailey American Dance Theatre) Look Up and Live, CBS, 1962.

(With Alvin Ailey American Dance Theatre) Camera Three, CBS, 1962-63.

America's Tribute to Bob Hope, NBC, 1988.

A Duke Named Ellington (also known as American Masters), PBS, 1988.

The Kennedy Center Honors: A Celebration of the Performing Arts, CBS, 1988.

16th Annual Black Filmmakers Hall of Fame, syndicated, 1989.

Bill Cosby Salutes Alvin Ailey, NBC, 1989.

Television choreography

The Jack Benny Show, CBS, 1954.

Red Skelton Show, CBS, 1954.

Parade, CBC, 1964.

Alvin Ailey: Memories and Visions, PBS, 1974.

"Blues Suite", Three by Three, PBS, 1985.

"Revelations", The Kennedy Center Honors: A Celebration of the Performing Arts, CBS, 1988.

"Revelations", Bill Cosby Salutes Alvin Ailey, NBC, 1989.

"For Bird - With Love", Alvin Ailey American Dance Theater, Steps Ahead, PBS, 1991.

Also contributed choreography for Party at Ciro's, 1954.

Choreographed Ailey Celebrates Ellington, 1974 and 1976, Solo for Mingus, 1979, and Memoria, 1979.

Adaptations

Blues Suite, Masekela Langage, Streams, and the ballet of Lord Byron have been filmed.

Tributes

In 2012 Ailey was inducted into the Legacy Walk, an outdoor public display which celebrates LGBT history and people.

A crater on Mercury is named for him as well.

Wikipedia