#if andy has odysseus

[streets-in-paradise]

in a more serious perspective, i think maybe Devon should have the role of Telemachus in my Odyssey analogy

[dimension20npcofalltime]

16th December [NPC Advent Calander]

Spotlight On - Laertes

Campaign: The Seven

Who is he?

Laertes Astrindarius is a member of The Society of Shadows and worked towards getting Penny Luckstone to join the society.

Laertes is a Halfling rogue and master of disguise, who wears a straw hat. He is a member of The Society of Shadows. His disguises include a "Raggedy Andy" type scarecrow doll, a wooden duck and a novelty snowman.

Desipte His First Impression, Laertes's Actual Role is a Low-Ranking Recruiting Agent in the Society, Rather than the Master Rogue Penny Luckstone Mistook Him For.

He is at First Calm and Suave, But has Poor Constitution, is Fooled easily and Has a Propensity For Sharing Secrets loudly about His Extremely Covert Society.

Why is he the NPC of All Time?

Brennan was constantly rolling badly for Laertes, he is such a cringefail man. He spent most of his first episode shitting and vomitting because Penny fed him Candyhearts' (the horse) body in the form of actual candy hearts.

In this house we love a pathetic wet cat of a man. I think Fantasy High started so strong with the introduction of Gilear (Winner of the original NPC of All Time title if you didn't know) that every subsequent season needed a Gilear and Laeres certainly filled that sort of role. Also fun for me personally as a student who has studied The Odyssey because he shares his name with Odysseus' father so I can't help but think of that whenever I'm watching.

[marmett]

scrolling through the hades 2 tag to see the new stuff, see odysseus and get excited bc andy rlly likes him, and then i see HEPHAESTUS and im like wait no hold on outta the way.

so far i think apollo and hephaestus have the strongest designs.

(unpopular opinion i think nemesis by far has one of the worst designs her armor is so bad and why is her waist so tiny)

[sevensevensevens-stuff]

OC intro: Mercy

yeah im obssesed with my OCs so heheheheheheheheeheheh.

Powers: electricity, fire, some super strength, fast healing

Hair: bleached to platinum, Mercy uses toner and makes it grey. her hair is actually a very dark brown she has a fuck ton of hair so she never grows it pst her ears, its typically in a little pony tail or an extremely fluffy mess. she has very subtle waves but mostly stick straight hair

Skin: she has neutral undertones and her skin is a medium tan color

Eyes: one orange, the other blue

Body: Mercy is chubby, with godly muscular legs but low arm muscles. shes very short, with big honkers and a flat butt. every inch of her is covered in some type of scar, post rite!Mercy has many tattoos, but pre rite!Mercy has none because she heals to fast and her body rejects the ink. her tummy and thighs are covered in stretch marks and so are her hips and honkers

Personality: Mercy is a very angry person. her two moods (when not around Odysseus Imani or Ruby) are angry, and loudly angry. Shes not exactly mean on purpose, she just doesnt understand teasing very well or jokes. shes loyal as shit, and actually has quite the fragile heart once your in her inner circle. drunk Mercy is bubbly and happy. when around Ruby, Mercy is much more relaxed and tends to prank people quite a bit. she teases and gently pokes fun at the people around her, and enjoys helping.

Hobbies: Cooking, biology, murder, revenge, and cartoons. Mercy watches cartoons religiously and typically cant eat or fall asleep without them in the background

Mental illness: though its never explicitly stated, its pretty obvious Mercy has got some issues. Mercy has petulant BPD, she has massive abandonment issues and attatchment issues. at one point Mercy had an ED, and of course she has night terrors and depression. Mercy is also high masking autistic. (stormy! you look just like mommy baby)

(Mercy is kinda a self insert for me so hehe)

relationships:

Ruby: Mercy and Ruby are nearly inseperable. wherever Mercy is sitting, Ruby is just around the corner. wherever Ruby is causing chaos, Mercy is right alongside her with a small smile on her face and childlike joy in her eyes. Mercy hasnt had a bff before, so her relationship to Ruby is very important. Mercy comes to Ruby for advice on everything, and typically breaksdown in front of her. When Mercy splits, its typically Ruby thats called to help calm her down. Odysseus is normally not far behind, but Imani has found Ruby to be much more effective at talking Mercy through it.

Imani: Imani is a mother to Mercy. helping to free Mercy when she was older, and taking her in. Imani learned a lot of Mercys patterns just by simply watching her. Mercy has a fairly strict routine that Imani helps support. Imani help to make sure that Mercy eats, typically leaving bowls of cereal and milk out for her, checking in with her after missions, and at one point trying to put her in therapy. Imani isnt afraid of tough love. When Mercy fucks up, Imani deals with it herself. the two get in plenty of arguments, but at the end of the day Mercy would and has given her life to save Imani.

Crow: Crow is the ‘cool’ mom. She helps Mercy train, control her lowers, and also takes her for joyrides in the car. Mercy doesnt know how to drive, but that doesnt stop Crow from letting her take the wheel on an abandoned street. she took Mercy to her first club, and although Crow is the silent and gentle type, she has been know. to keep a tight watch over Mercy. Their relationship has been complicated, mainly from some of Mercys past actions against Imani. and at some points the two will not talk to eachother for days.

Andromeda: Being the wife of her bff, Andromeda is someone that Mercy is both weary and loving towards. She knows that Andy could hurt Ruby, and has made it clear that she wont tolerate that. Mercy and Andy bonded over Cartoons. The two can typically be seen silently watching them and eating bowls of cereal. Andy has a slight fear of Mercy, but only because shes -ahem- eccentric (Mercy has horribly tortured and murdered many people but they all deserved it)

Odysseus: Ah yes, our golden boy himself. The two got off to a rocky start. but thats kind of how it went for everyone with Mercy. though Ruby has become quite skilled in helping talk Mercy through breakfowns and splits, Ody is her safe haven for anything. Wherever Mercy is, you can bet this ray of sunshine is towering over her, beaming down at his beautiful girls face and holding her hand. hes not afraid to show his affection for her, and Mercy becomes quite embardassed by it. no one thought Mercy was capable of blushing until Odysseus simply held her hand in public. Mercy is typically calm and composed (or angry and composed) but when Odysseus is around she takes a step back. Mercy is all smiles and blushes whenever Odysseus is around. he brings out her genuine laugh, her genuine smile, and her genuine personality. Mercy is a chatterbox with Odysseus, typically sitting on his lap and talking about her day for hours on end, shes typically always touching him, wether its just holding his hand, to full on making him give her a piggyback ride, Odysseus gives her safety she never knew was possible.

[gaal-dornick]

thinking abt the florence bit of one of my fics (in the 1500s), how they got there thinking yeah we'll spend a year here tops, decided to get a house and an old dog, very mean, very aggressive, the boar hunting kind, a big huge molosser, came with it bc no one managed to take it out of there, and immediately it falls in love with andy (and with the others in increments) and they think "ok he's already like nine, he won't live much longer, we'll just wait him out". ten years later they're still there, the dog is treated like a king and still going strong at around 1cm per hour of speed, sleeps on andy and quynh's bed (which they moved downstairs bc he can't go up the stairs anymore)

[dazenightmare]

Techno and Andy spend a long time discussing Greek mythology. The most prominent “discussion” being the time they just totally bashed Odysseus for being a terrible human being with extreme double standards against women. No one in the store has heard Andy cuss up to that point and they never heard her cuss after but the string of insults that came out of her mouth pretty much stunned the entire store into silence. They were forced to drop the conversation after but the teens can sometimes hear Andy muttering angrily in Greek after she has history, they can usually make out the words ‘sexist’ and ‘hypocritical bastard’

It freaked them all out to an extent for sure

[starlightervarda]

Ok, me too! 1) Instead of XYZ happening, I would have made ABC happen: I want to know what you would have changed from TOG the movie, if you were the director :D 2) Has fandom ever made you enjoy a pairing you previously hated? (Any fandom)

Kikiiiii <3

6. Has fandom ever made you enjoy a pairing you previously hated?*

I wouldn't say I hated it, but I just didn't understand why anyone would ship Kirk with anyone but Spock, because they were canon soulmates and all that stuff in Wrath of Khan and Search For Spock gave them this very Odysseus/Penelope vibe etc, etc. etc....

but after Star Trek Beyond came out and I saw a lot of gifsets, memes, headcanons and fanart about Kirk/McCoy and how different their dynamic was and it was like

Then I wrote some fics for them xD

17. Instead of XYZ happening, I would have made ABC happen…

I would have included longer worldbuild-y flashbacks, to see the moment Andy became immortal and maybe a supercut of her many lives and deaths across history until she found the next immortal/Quynh. To really show just how long and lonely her life was even after she found the rest of the Guard, and how fed up with living she is.

And ofc how Nicky and Joe met during the First Crusade and how things went until they found Andy and Quynh.

I just want scenes that show us a glimpse of these relationships/dynamics rather than just tell us about them.

Send Salty Asks

[motleystitches]

The Old Guard: On the Matter of (Im)Mortal Existentialism

From the capriciousness of Greek gods, to the conscience of the Doctor to ennui of Lestat to the high doom of Elves, fandom has always explored the length and breadth of the question of immortal existence in the context of “Characters that Are in Motion Will Always Be In Motion in Same Direction (unless acted upon by unbalanced force)” and all the drama focusing on the “unbalanced force” but the Old Guard, despite immortality of its characters, occupy the same space as any other human character, which gives a possibility of delving into the implication long-lasting youth rather than simple immortality. This existence is actually thematically unique despite having all the trappings of tropes in the movie. 

In one regard, they’re all mutants, but they’ll never truly learn *what* their power is or its limits; they will always remain as infant-like as any new student at the X-mansion. They can hurt. They can die. But no one knows the hour or the time when their healing would fail or their lives would end. Even Andy doesn’t know. When Nicky “dies” then lives again, Joe always looks on the verge of grief. Relief passes whenever one reanimates. Possibly, at one point in time, they could simply start dying of old age if leading a less violent existence. They’re Methuselah rather than Enoch. They are not destined to live as long as the earth or so sometimes it feels that way. Perhaps Wolverine/Logan could sympathize, but thanks to canon-amnesia the character Wolverine was deprived of a reflective existence. However, the Old Guard, interestingly, remain always themselves and both in wonder and disturbed by their own immortality.

After all, they’re fundamentally mortals. Merely human, so to speak. They actually could not afford to be mercurial or capricious like the gods. Any job could be their last. In other words, they have to prioritize: when to fight, when to love, when to eat, or even what to study. They encounter normal existential questions. Given the uncertain span of their lives, what will they spend time doing? What will give their existence meaning? When Calypso offered Odysseus immortality, he rejected it in favor of all that was important in his life. And so the Old Guard have to reject all the “immortal trappings.” The joys and sorrows, the leavings and meetings of the people in their own life are as acute as for you and me. 

If you live a long time and all your loved ones die, who’re you at the end? There is a vast difference between an elderly relative and the unbreakable ancestral plate on the wall. We know they all had families. They chose to leave them. Or perhaps, merely lost track of them as even humans do within span of twenty or fifty or seventy years from politics, war, or simple personal disagreements. And yet, none of the Old Guard mention children. Perhaps they’re sterile. Unlike gods, elves, humoid aliens, mutants, highlanders, or even arguably vampires, they could not have children of their own body. 

There would be no glory according to the western or eastern lore, no heritage to leave behind. All they would have would be dream children, to borrow from Wilde, but how fittingly! Another immortal they’ll find to benefit and to remember lessons of their own very long human life, full of youth.

(And how much i love that it’s a youth they use to fight and love and eat and study...not just to fight....)

[skiesxend]

Anonymous said:

Didn't you rp another muse a million years ago?

Hi anon! I’ve been rping on tumblr since 2013 when I was the Captain from hellsing and Gin Ichimaru in bleach. I also did a stint in marvel fandom before going on Hiatus from tumblr until 2015 when I returned as Cu Chulainn from fate fandom and also wrote my OC Atsuko and my take on Odysseus as a fate servant. Since then I also had a blog for my take on Loki as a fate servant, as well as Drake, Holmes, Aglovale and oda nobunaga. Loki and Odysseus got moved to my Fate and Torabu Multimuse where they hang out with serveral other muses, and for a I time I also wrote Sannan Keisuke and Lewis Carroll on sideblogs to nobunaga. Since then I moved to Onmyoji fandom where I’ve written Ibaraki Douji for several years, and I also have a gacha protag oc who has been running for several years! I also have a very dusty OC multi muse from my original setting it write with my husband, And Several blogs in FFXIV fandom.

You can find all my blogs at this Handy Dandy Link Right Here, though currently only Ibaraki, the protag, the fate/touran multi and this blog are active!

[streets-in-paradise]

Whwt are your rules and character list?

Hi!!

i'm still in process of writing an extensive guideline, but I can quickly tell you some bassics that i think will be good enough for now :)

What I don't write:

Smut ( i tried it only once and i'm not good at it), ship fics ( except a very reduced list of ships i like enough to write fic about) and real life persons fics.

Some things out of my comfort zone that I may still try depending the context of the request:

-Pregnancy fics ( not my favorite escenario to write about)

-Triggering topics ( mental illness, addiction, ED, etc).

Things I write about:

-Fem, Male and Gender Neutral Readers. I have most practice with fem readers and i have wrote a few gender neutrals. No one has requested a male reader so far and I haven't written one yet but i would still take the request and see how it turns out.

In general, send me the ask first and I will tell you if the request is fine for me. I don't mind answering as many messages as necesary.

Media I write about:

My main ones lately have been Troy (2004), Prince of Persia: The Sands of Time, Chucky and Stranger Things, but i have wrote for some others too.

Check on my masterlist ( pinned post) to see all the fandoms/ media i have wrote about so far.

Some media i haven't post about yet but want to try : lotr/the hobbit ( i already have a bilbo x reader request on my drafts), BBC Merlin, Pirates of the Caribbean and The Mummy. This are the ones that are occuring to me ríght now, but almost anything historical epics or fantasy - adventure (except got) i love.

Characters I write for:

From my main fandoms/ media.

Troy (2004)

Everyone, I would write for any character of the entire film. From the main ones to background characters.

My favorites are Achilles, Paris, Hector, Patroclus, Eudorus and Odysseus, but from this film i would write for literally anyone.

Prince of Persia

Prince Dastan

Prince Tus

Prince Garsiv

Princess Tamina

Chucky

All the survivors ( specially Andy Barclay).

I do can try writing for Chucky or Tiffany, but i'm less skilled with their characters.

Stranger Things

All the older teens except Billy Hargrove.

For the younger characters I would accept only platonical fics.

Note: If the character or fandom you want to ask me about isn't here, ask me anyways. I may have watched the movie or show despite not being in the fandom and if that's the case, i can still try writing for it :)

[thesilverheroineproject]

By Haley Thurston

What are women afraid of? Why do women matter? How are women useful? Do these questions have gender-specific answers?

In The Power of Myth, Joseph Campbell says that a hero is “someone who has found or achieved or done something beyond the normal range of achievement and experience. A hero properly is someone who has given his life to something bigger than himself or other than himself.” He goes on to distinguish between physical heroes, those who do deeds, and spiritual heroes, those who “[have] learned or found a mode of experiencing the supernormal range of human spiritual life, and then come back and communicated it.”

This is a grand and beautiful model. And especially when we just leave it at “someone who has achieved something beyond the normal range of achievement and experience,” it works very well for a hero of any gender. But when Campbell gets into the specifics of what counts or is celebrated as an unusual achievement, or how that achievement goes about getting done, I start thinking “well those are pretty unambiguously good achievements, but they’re also pretty male.”

That’s because there’s another element to heroism, which is where it interacts with social values, and gives us a mythology about what we should care about achieving. If we tell stories that laud a person for being unusually sacrificial, then we’re communicating that selflessness is a value of our community. Even when a story isn’t explicitly or intentionally communicating information about what is socially and morally good, we can retro-engineer a lot from the text to determine what its underlying values are.

While stories in general can be about any number of things beyond telling the reader what kind of person they should be (thank goodness), it’s important to remember that the genre of hero stories really is fundamentally about what makes a remarkable and laudable human. Even when a character is simply coded as a protagonist, hero stories have primed us to expect, justified or not, to learn something about what it means to be a good human from that character. So while I don’t want to go down some alarmist road that ends with “exposing children to Harry Potter means they will become Satanists,” and as obvious to the point of pedantic this might sound, the whole point of heroes is that we admire and emulate them, and it’s worth talking about what the consequences of being told we should emulate some trait actually are.

So to bring this back to the Heroine’s Journey, if we look at something like the Odyssey, we have two different kinds of heroes: Odysseus and Penelope. Odysseus is a pretty Campbellian hero. He leaves home, he does deeds, and returns home, having earned some kind of mantle of authority. Penelope, on the other hand, is left at home with the challenge of figuring out what to do with herself. She waits for Odysseus and she fends off a series of suitors. In the story itself she isn’t as perfectly virtuous as she’s made out to be by various pro-chastity ideologues. But she does, nonetheless, “achieve something beyond the normal range of achievement and experience” if you care about achieving fidelity. But this is a very different kind of heroism.

The Heroine’s Journey is about learning to suffer, endure, and be subjected to indignity while maintaining grace, composure, and patience. While most heroic stories involve some element of perseverance and strength of will, what makes Heroine’s Journey stories different is that a heroine’s perseverance is tested not to see whether she can persevere to achieve a separate goal, but rather simply to see if she can persevere, period. When you lay it out like that, it’s pretty hard to see the Heroine’s Journey as fundamentally heroic, to which I say: well yeah.

I suppose I’m interested in the Heroine’s Journey because I’m interested in the cognitive dissonances women experience; what creates them, what the consequences of them are, and what to do about them. In Heroine’s Journey stories, for example, women are told that their entire social role and contribution to society is contingent on them being really really good at being graceful martyrs. Yet at the same time, women are told that being a martyr is a weak thing to be; ie, the opposite of heroism. And even without being told that, most women can figure out in their heads that the Heroine’s Journey 1) doesn’t feel good and 2) is flawed heroism.

So the story of the Heroine’s Journey, the meta-Heroine’s Journey, if you will, is the story of being told a dissonant truth, and then attempting to disentangle it. In order to chart that story, we need to look at both the original, traditional Heroine’s Journey and then the modern Heroine’s Journey, troubled in its own way, that developed as a result of grappling with the traditional one.

The traditional Heroine’s Journey goes something like this:

The heroine is yet undeveloped. She may be wild and undignified, she may be mild and unremarkable, or she may be seemingly already virtuous.

Her worth is threatened. That is, her ability to persevere is threatened. The threat may be an assault on her virtue, an undignified circumstance, or random misfortune.

She endures, gracefully. She suffers, but her dignity isn’t undermined. If anything, her dignity is antifragile, she becomes more dignified the more she suffers.  Her perseverance then makes her previously undefined nature snap into place. Her dignity gives her strength.

Thankfully, it’s not 1850 anymore. The modern Heroine’s Journey is more like:

The heroine is yet undeveloped. She is often highly confused about where virtue is located.

Her dignity, composure and grace, ie, her worth in the “traditional” sense are threatened. Additionally, and perversely, her ability to defend traditional worth is tested.

She proves her value by either transcending or invalidating the test (“fuck it, this is a bad metric”) — or by transcending/invalidating the test, but stillpassing it (“having it all”). The modern Heroine’s Journey is about defining one’s worth anew.

A traditional Heroine’s Journey looks like the women from Les Miserables: the rejected Eponine, the destitute Fantine. Cosette never seems like much of a hero, but she certainly starts out from rags. The Victorian era was probably the height of the Heroine’s Journey, and you can see it in things like Dracula. As many horror stories would go on to mimic, two women, Mina and Lucy, are tested with seduction, but only the former resists and therefore gets to survive for her trouble. Jane Austen’s women teeter on the edge between the traditional and modern journey, each tasked with seeing through the cads and settling on the moral, pragmatic partner. Once you know this narrative, you see it in all kinds of romance stories: the triumphant woman is the one who rises above (or outsmarts) the men who would degrade her.

The modern heroine looks like Kristen Wiig in Bridesmaids, a movie that pulls indignity rugs out from under its protagonist for two hours. She lost her business! Her ego is dependent on a guy who makes her hate herself! Her friend has a new best friend, one who’s richer, prettier and thinner! The movie is not so much critical as lovingly satirical towards female preoccupation with indignity, coming to the conclusion “indignity is bad, but not so bad in the end.” The modern heroine also looks like Sylvia Plath, who has both become a symbol of female suffering (trite, traditional), and of an interpreter of suffering that is female in a human sense. She is a symbol, in other words, of not wearing suffering easily, or of having suffering that is serious and legitimate. The modern Heroine’s Journey has no better description than Leslie Jamison’s “Grand Unified Theory of Female Pain,” which describes contemporary women as “post-wounded.” The post-wounded woman is one who is never suffering in the present, but is instead always contextualizing and nervously proving ownership over that suffering. Jamison’s piece is one of the best (and perhaps only) articulations of the Heroine’s Journey, and I will continue to refer to it.

How did we get from the traditional to the modern? And where do we go afterwards?

You could argue, perhaps, that maybe there was a time in which Heroine’s Journey values were once constructive. Say, stability and self-sacrifice are good for childrearing; female work frees up men to be creative/accomplished; it’s to an oppressive group’s advantage to feed the oppressed group a heroic narrative about grunt work, shame, and putting up with crap.

But regardless of why, precisely, Heroine’s Journey values became socially useful, it’s clear that they became less useful over time. Increasing wealth, public health, safety and opportunity meant that whatever division-of-labor benefits enforced gender roles might have had, both women and men could suddenly not participate in various “duties” and they and human civilization would still survive. Such upheaval necessitates a series of grappling questions.

1. “Does this quality I’m told is good actually contribute to human flourishing?”

Stage one is destructive. It tends to involve a certain amount of hatred, either directed inward, or directed by one against another. Stage one amounts to smashing a social value, and smashing is usually crude. Smashing is like a person pacing back and forth and muttering “This thing is WRONG. I don’t know quite what it IS or what it MEANS but I know that it is WRONG.”

In practice, stage one is mostly torture porn. I’m thinking about Andy Kaufmann’s tape Andy and His Grandmother, which (as described in a Grantland article) made an art form of ribbing women. His questions sound almost earnestly direct, but because women are unaccustomed to responding to such directness, and he knows it (or else he wouldn’t make comedy of it) there is something disingenuously torturous about them as well.

Though I’ll say more in a second about why horror is actually one of the best genres for women, the reason that people can look askance at that idea, is because a lot of the time, for a long time, anti-female-composure stories have been for the amusement of people (largely men) who want to punish women. Take a hot girl, who thinks she’s hot shit, and put her through hell–that will teach you to be hot!!! Horror is catharsis, and it makes some sense to me that it would be a realm of catharsis, however essentially misogynistic, for sexual rejection and desire. When I described this piece to a friend, he replied: “So isn’t like 90% of porn the Heroine’s Journey then?” Well…perhaps so. If the graceful negotiation of composure and things that threaten composure is the essence of female value, and fetishes originate in the secret and taboo, then well, of course the destruction of female composure would become deeply, repeatedly fetishized.

The potentially brutal treatment of women in stories is also complicated by the idea that the way men become symbols for corrupt authority, women become symbols for corrupt social values and contracts. When you smash one of them in a story, often enough that’s what you’re symbolically smashing. But I think it would be disingenuous to say that all virulence directed at female characters is simply thematically motivated.

So that’s two kinds of composure-destruction by men. But you’ll notice that early female comedians got their start by challenging femininity too, people like Lucille Ball (who juxtaposed the ideals of homemaking with relentless physical and situational indignity) and Joan Rivers, people that were willing to look ridiculous and self-deprecating (“A man can sleep around, no questions asked, but if a woman makes nineteen or twenty mistakes she’s a tramp.”).  That’s because comedy comes from the same place as horror, that place of essential fears and need for catharsis. Was there any other place for female comedy to go? Lucille Ball took a lovingly destructive angle, one that’s maybe more stage three (below) than one. As for Joan Rivers, I don’t know if she ever liked being a woman much, but she was good at hating herself for it. And laughing, more importantly, at the ridiculousness of that hatred. This strain in female comedy has stuck around: think of Liz Lemon under a blanket eating cheese or Amy Schumer’s “I’m a sad slut” schtick.

2. “If it doesn’t, or if I could better contribute in another way, then do I care about having status in a hierarchy that says it does?” (“Do I really care about human flourishing?”)

Female comedy verges into stage two. Stage two is conflict. Stage two stories aren’t made by people that want to punish women/society, they’re composure stories made (usually) by women and for women in order to grapple, rather, with the fear of punishment. Imagine our muttering person suddenly standing up and shouting “I DON’T care about the hierarchy. I’ll do what I LIKE.” Defiance. And then imagine them becoming fearful. “Doing what I like has the best chance of making everyone happy right? So why do I feel miserable? Wasn’t misery the trope I was trying to destroy?”

Bridesmaids (which had the honor of newly convincing us that women can be funny), again, is this. Girls traffics in it as well, as Leslie Jamison describes:

“These days we have a TV show called Girls, about young women who hurt but constantly disclaim their hurting. They fight about rent and boys and betrayal, stolen yogurt and the ways self-​pity structures their lives. ‘You’re a big, ugly wound!’ one yells. The other yells back: ‘No, you’re the wound!’ And so they volley, back and forth: You’re the wound; no, you’re the wound. They know women like to claim monopolies on woundedness, and they call each other out on it.”

Girls, both the characters and the writing itself, are stabbing at being crass, at being superficially elegant, and at being “transcendent,” and seeing what will stick. Girls gets at that intersection of feeling a duty to exorcise fears of being gross, but still wanting to be liked and wanted, and also thinking both of those are such small and unimportant goals in the end.

Caroline Knapp’s famous anorexia memoir Appetites uses the framework of disordered eating to discuss the female relationship to pleasure, denial, and suffering in general. Knapp sums up the twisted heroism of self-denial early on: “Other women might struggle with hunger; I could transcend it”; as in, become more than human in the classic Campbell-ian sense. Because glorifying suffering is seen as poisonous, having control over that suffering feels good, even though it also creates further suffering. Appetites represents how women struggle just before they realize they must “man up.” Writes Jamison: “We want our wounds to speak for themselves, Knapp seems to be saying, but usually we end up having to speak for them.”

People like Beyonce because she is a fantasy of stage two being resolved. Her persona is a fantasy of being sexual/human/regal and yet she feels beyond “having it all” even though she does, in fact, have it all. That’s because Beyonce is charismatic and that is how charismatic people make you feel (liked and okay!), but it is significant that the thing she makes you feel okay about is this modern quandary. You feel permission to partake in the resolution her persona offers. You don’t feel competitive with Beyonce.

Stage two is also where intersectionality becomes thematically salient. The dilemmas of the Heroine’s Journey universalize fairly well, but people (including women) participate in more than one social hierarchy at any given time. It might be hard to justify suffering for the sake of itself, but suffering for the sake of justiceis pretty much the easiest thing to justify there is. The details of one woman’s dilemma will not be the same as another’s; her suffering has different origins and flavors.

3. “If I do care about human flourishing, and I’m going the wrong way about it, then what do I do about that?”

So what do post-Heroine’s Journey stories look like? Stage three is constructive. As Jamison asks “How do we talk about these wounds without glamorizing them? Without corroborating an old mythos that turns female trauma into celestial constellations worthy of worship?” There have been many many stories about women throughout the history of stories that have been much more complex than the Heroine’s Journey, stories where female agency and/or grossness aren’t questioned (I think about classic female “trickster” stories like Scheherazade)…yet as Jamison’s piece and Appetites and all the works I’ve referenced so far demonstrate, somehow the Heroine’s Journey’s values still seem to underlie the choices of women constantly. What this means is that if a story with and about women and heroism doesn’t somehow admit the fear of loss of composure or come to grips with it or feel some way about it, I sometimes wonder if it’s about women at all. Moreover, that task in the third stage of the modern Heroine’s Journey, the task of defining worth, is huge and fascinating. And it is under-utilized.

In a great interview on Playing D&D with Porn Stars, Sarah Horrocks explains why, perhaps unexpectedly, the horror genre is actually one of the greatest genres for female heroism.

“S: Getting pushed to your limits, to the point of hysteria, but still surviving—that you’ve taken this huge weight of the world on you, and like Marilyn Burns in Texas Chainsaw Massacre, you’re covered in blood and screaming and laughing—but you’ve somehow come out on top.  I don’t think other genres allow women to be strong, tough, and vulnerable in this way. And I mean there’s just way more movies in the horror genre where the perspective is that of a woman’s.  The slasher flick is not through the killer’s point of view after all, it’s through the woman’s.”

In other words, there’s no room for composure in horror movies. Which means that in them, a female character has the opportunity to be immediately exempt from having to prove that she is some conventional version of dignified in order to be heroic, and is instead forced to admit what she’s made of when that’s stripped away and no one’s looking.

One of the reasons I adore Lyra’s heroic journey in His Dark Materials, is that in spite of it being a very Campbell-style story (mysterious origins, a call to adventure, ad nauseum), Lyra’s girl-ness remains inherent throughout. One of the main arcs of the book begins with her being suspicious of femininity and only trusting male figureheads, and concludes with her accepting that she values wisdom, that the acquisition of wisdom is slow and difficult and that the unflashy female wisdom-seekers she once derided have things to teach her. We don’t want our heroes to be blandly competent, we want them to exist in the same world of difficulty that we exist in, so that they may give us a map for dealing with it. Lyra doesn’t do the Heroine’s Journey, exactly, but perhaps more importantly: she resolves it.

Understanding the Heroine’s Journey is not a replacement for or an improvement on the general writing prescription to “just write women like people.” It’s a hopefully helpful explanation, rather, of one (very important, complex) element of female people-hood. If you want to talk about how a person grapples with their society, look to the cognitive dissonance produced by what society tells them is heroic.

Thanks to Gabriel Duquette for his help in developing some of the ideas in this piece.

[dumbledearme]

chapter nine—the murkiest scam

read Child of Land and Sea here

Act II — Heart Of The Ocean

Part I — So prepare for the coup of the century. Be prepared for the murkiest scam.

Grover was terrified of something behind him but Andy couldn’t see what it was. She could hear it though, growling, coming for him.

“Have to get away! Have to warn them,” Grover kept repeating. He dove behind a rack of wedding dresses.

The smell hit Andy – a sickening combination of wet sheep wool and rotten meat.

Grover trembled.

Then lightning flashed, the entire front of the store exploded and a monstrous voice bellowed, “MINE!”

It had only been three months since Andy had returned from camp, but it felt like a lifetime. She sat for breakfast with her mother, but didn’t eat with as much enthusiasm as usual. She felt a strange urge to uncap Riptide; she missed all parts of that magical world, she missed her friends, she missed even Clarisse, and especially-

“What’s wrong?” Her mother saw something in her face.

“I think Grover is in trouble,” Andy admitted and then told Sally about her dream.

“I wouldn’t be too worried, dear,” Sally decided. “Grover is a big satyr. If there was a problem, I’m sure we would’ve heard from… camp,” her shoulders tensed when she said it.

“What is it?”

“Nothing,” Sally said, a little too fast. “Let’s go out tonight. For dinner. You can take Tyson, I like him.”

“Why are you changing the subject? What happened, mom?”

Sally twisted her hands. “I got a message last night, Andy, from Chiron.”

“What did he say?”

“They’re having some… technical issues.”

“What does that even mean?”

“Oh, Andy, I am very sorry, alright, but you’re gonna have to wait. It is time for school. Tyson will be waiting. Go.”

Andy didn’t want to leave like that, without an explanation, but it was clear her mom wouldn’t tell her anything if she didn’t cooperate.

As she stepped outside, she glanced at the brownstone building across the street. Just for a second, Andy saw a dark shape, a human silhouette against the brick wall, a shadow that belonged to no one.

Then it rippled and vanished.

Meriwether College Prep was definitely the weirdest school Andy had gone to. The classes weren’t taken seriously, the teachers wore concert T-shirts to work, and the kids were all kinds of wrong.

P.E. came and the school bully, Matt Sloan, was ready to spread the hate. He started going around giving people wedgies, which was working fine for him, until he made the mistake of trying it on Andy’s friend, Tyson.

Tyson was a homeless kid. If that wasn’t enough to keep people away from him, there was also his appearance. He was six foot three and built like the Hulk, but he cried a lot and was scared of just about everything. His face was kind of misshapen and brutal looking and Andy could never look at him for more than five seconds. It sort of gave her a headache every time she tried. Once the other students discovered Tyson was a big softie despite his scary looks, they started to pick on him.

So, as expected, when Sloan touched him, Tyson freaked out and swatted him away a little too hard. Sloan fell on his back. “You freak!” he yelled. “Why don’t you go back to your cardboard box?”

Tyson started sobbing, of course.

“Oi,” Andy shouted. “Watch it, Sloan!”

Sloan sneered at her. “Why do you even bother, Jackson? You’re not so bad. You could sit with us if you weren’t always sticking up for that freak.”

“He’s not a freak!” Andy said, her facing turning red.

A bunch of big guys entered the gym and the teacher announced they would be playing with them they were visitors that would be studying there soon or something. Andy didn’t care, but Tyson mentioned they smelled funny. Everything seemed alright, until the so called visitors started to change, growing in size. Soon they were eight foot tall giants with wild eyes, pointy teeth and hairy arms.

The kids started screaming, including Matt Sloan, and ran out of there. The giants started throwing fireballs. Andy threw herself on her stomach. Tyson shouted something like, “Andy needs help,” and jumped in front of her just as the monsters threw the fireballs. Somehow, he caught the fireballs with his bare hands as Andy watched in shock, and sent them back to the monsters, three of them disintegrated.

Then the bigger one came for revenge and shoved a fireball right at Tyson’s chest. “No,” Andy yelled, but it was too late. Tyson collapsed. The giant came towards Andy with a grin. She reached for Riptide, but no need. Suddenly the giant’s body went rigid. His expression changed. He looked down and saw the knife in his chest then burst into a cloud of dust.

Anthony appeared – holding his Yankee cap – his face grimy and scratched. He took the knife and glanced at Andy, a wild look in his stormy-gray eyes. Just seeing him again after so long, Andy imagined herself hearing bells ringing. In reality, it was the sirens approaching: the gym was in flames.

“Anthony,” she said. “What…?”

“No time to explain,” he said pulling her up. “Let’s go. And bring it,” he added, pointing at Tyson who was trying to sit down. Andy took Tyson by the hand and followed Anthony outside. They hid in an dark alley. “Where did you find this thing?”

“He’s my friend.”

“How did you find it?”

“He has ears! Why don’t you ask him?”

That surprised Anthony. “It can talk?”

“I talk,” Tyson admitted. “Your hair’s like corn.” And he reached out his hand toward Anthony’s head.

“Don’t touch me,” Anthony said, slapping Tyson’s hand away.

“Anthony!” Andy exclaimed. She gave him a shove and went examine Tyson’s hands. He was clear. There were no marks whatsoever. “Tyson… Your hands aren’t even burned.”

“Of course not,” muttered Anthony, sounding offended. “I’m surprised the Laistrygonians had the guts to attack you with this around,” and he waved at Tyson as if he was a piece of gum in the floor.

“Laistry-what?”

“They’re a race of giant cannibals. Odysseus ran into them once. Now come on. We have to get out of here.”

“I’m gonna be expelled, you know. Again.”

“That’s the least of your problems. Have you been having the dreams?”

“About Grover? Yeah,” said Andy, who didn’t think possible Anthony to be having dreams about her.

“Grover?” Anthony’s face turned pale. “No, what about Grover?”

Andy told him as quick as she could. Then her hopes betrayed her. “What have you been dreaming about?”

The storm in his eyes stirred. “Camp. Big trouble at camp. I don’t know what exactly, but something is definitely wrong. We need to go. Monsters have been chasing me all the way from Virginia. You must have been attacked a lot, too, no?”

“Not really,” she said, disappointed with his answer.

“But…” then he glanced at Tyson. “The thing must have kept them away.” Andy was about to snap at him, but he spoke first. “We don’t have time for this. We’ll talk in the taxi.”

“What about Tyson? We can’t just leave him. He’ll be in trouble.”

Anthony had a displeased look upon his face. “Yeah. We can take it with us, then.” He pulled a drachma from his pocket and said in Greek, “Stop, Chariot of Damnation.” The coin disappeared from his hand and a gray car materialized before them. It was a taxi alright, a taxi drove by the Fates. “Three to Camp Half-Blood,” Anthony said.

“Ach!” one of the Fates exclaimed. “We don’t take his kind,” she pointed a bony finger at Tyson.

“What is this?” Andy asked, indignantly. “Asshole Day?”

“Extra pay,” Anthony promised and the Fates allowed them in. Andy had to sit in the middle because Anthony refused to be touched by Tyson.

Men!!!!!

The cap started moving like a Viking boat.

“We’re gonna die,” Andy commented.

“Don’t worry,” said Anthony, who sounded pretty worried. “The Gray Sisters know what they’re doing.”

“Yes, we are very wise,” said one of them.

“We know things,” another agreed.

“The location you seek,” the third one said and was hit in the head by the others.

Andy frowned. “What? What location? I’m not currently seeking any-”

“Nothing,” the third sister hushed her.

“Tell me,” Andy demanded with narrowed eyes.

“We can’t. The last time we told, it was horrible,” said the first.

“But maybe we can give you a clue,” said the second.

“30, 31, 75, 12,” finished the third.

Andy wanted more information than that, but right then they arrived at Camp Half-Blood. When Andy looked up at Half-Blood Hill she saw, at the crest of the hill, a group of campers being attacked by two bronze bulls the size of elephants.

Andy and Anthony rushed to join their friends. Anthony went to distract one of the bulls while Andy tried to help Clarisse fight the other. But the bull crashed into her shield and she went flying backward. Anthony tried to organized the heroes shouting commands. Andy lunged at the bull before her but it blew flames at her. She rolled aside, all the oxygen sucked out of her lungs, and her foot caught on something and it twisted her ankle. She screamed when she fell.

The bull charged straight to her. She heard Anthony call her name, but she couldn’t get up.

“I, Anthony Chase, give you permission to enter camp,” Andy heard him say, but didn’t understand what it meant until she saw Tyson barreling toward her. He dove between Andy and the bull just as it unleashed a nuclear firestorm. The blast swirled around him but Tyson was not hurt. He balled his fists and slammed them into the bull’s face. He hit the bull so hard and so much that soon all that was left was a massive ball of bronze.

The other bull was taken care of by Clarisse she’d impaled it through the back leg with a celestial bronze spear.

Andy was staring at Tyson. “You didn’t die.”

Anthony came forward and knelt beside her. He was shaking his head like he thought he’d done something wrong. “I had no choice,” he muttered to himself. “I had to let him cross the boundary line.”

“Let him? But-”

“Andy,” he said, annoyed. “You obviously haven’t stop to look at it. I mean, really look at it. Ignore the Mist and try to see it.”

Andy tried. It wasn’t easy. Her head hurt. But then she saw his eye. One large, calf-brown eye, right in the middle of his forehead. “Tyson!” she exclaimed. “You’re a… Cyclops?”

“A baby,” Anthony said. “One of the homeless orphans. They’re in almost all the big cities. They’re… mistakes, Andy. Children of nature spirits and gods. Well, one god in particular. No one wants it. Clearly, it likes you though.”

“But the fire-”

“Cyclopes,” Anthony explained. “They work the forges of the gods. They are immune to fire.”

Clarisse chose that moment to approach. “Damn, Jackson, look what you did,” she said as if the attack had been Andy’s fault. “Get off that skinny ass of yours and help us take the wounded to the Big House. Tantalus needs to be informed about this.”

“Tantalus?”

“The activities director,” she said, impatiently. How had Andy missed any of them?

“Chiron is the activities director.”

Clarisse made a sour face. “Things have changed while you were gone.”

“What do you mean?” Anthony asked. “What happened?”

“That happened,” Clarisse snapped, pointing at Thalia’s pine tree. Its needles were yellow and there was a huge pile of dead ones littered at the base. In the center of the trunk was a puncture mark oozing green sap. “The magical borders are failing because Thalia’s tree is dying,” she explained. “Someone poisoned it.”

Chiron was at the Big House and when Tyson saw him, he froze and shouted, “Pony!” Chiron didn’t like that at all.

Anthony rushed to hug his mentor. “What is happening?” His voice was shaky. “You’re not leaving, are you?” Anthony wasn’t looking so good. In a matter of seconds, his tree of a best friend was about to die and his second father was leaving him to deal with it. Andy felt so bad for him that she even forgot her hurt ankle.

“I’ve been fired,” Chiron admitted. “Someone had to take the blame, I suppose. Lord Zeus was most upset. The tree he’d created from the spirit of his daughter poisoned! Mr D had to punish someone.”

“It was not your fault!” Anthony argued. “If someone-”

“Nevertheless,” Chiron sighed, “some in Olympus do not trust me now, under the circumstances.”

“What circumstances?” Andy asked.

Chiron’s face darkened. “The poison used on Thalia’s tree is something from the Underworld. Some venom even I have never seen. It must have come from a monster quite deep in the pits of Tartarus.”

“Well, then, this is obviously Luke’s fault.” She tried not to blush when she said his name.

“Perhaps,” Chiron said, “I’m being held responsible, I fear, because I did not prevent it and cannot cure it. The tree has only a few weeks left, unless…”

“Unless what?” Anthony asked, promptly.

“Nothing,” Chiron said. “A foolish thought. The camp itself is dying. Only one source of magic would be strong enough to reverse the poison, and it was lost centuries ago.”

“What is it? We’ll go find it,” Andy offered.

“I did not want you two to be here. But now you are, so you will stay. No one is leaving but me,” he placed his hand over Anthony’s shoulder. “Stay with her, Tony. Keep her safe. Remember the prophecy.”

“I will.”

“Swear you will keep her alive,” Chiron insisted. “Swear it upon the River Styx.”

“Hey, now,” Andy said, uncomfortable. “Don’t make him do that.”

They weren’t listening to her.

“I swear it upon the River Styx,” said Anthony, as serious as the storm in his eyes. Thunder rumbled outside.

“Very well,” Chiron seemed satisfied. “Perhaps my name will be clear and I’ll return. Until then, I’ll stay exiled.”

And he left right when the campers were called to the pavilion.

[vermontparnasse]

Downton Abbey (good luck narrowing down the list lol), a little life, and Survivor!

downton GODDAMNIT CHELSEA THIS IS GOING TO TAKE ME LIKE 10 HOURS

1. the most ridiculous, outlandish things happen in this show (a woman literally poisons herself with a pie to posthumously frame her husband; a burn victim turns up out of nowhere and claims to be the heir to the estate; an aristocrat has a baby out of wedlock, gives up said baby for adoption in switzerland, changes her mind, takes the baby back, makes the baby live with local farmers, takes the baby back from local farmers and forces them to move away; need i go on?) but god. fucking. forbid. that thomas barrow have a fucking boyfriend, because suddenly we are ALL ABOUT that historical accuracy!2. anna’s rape.  everything about this plotline was terrible but basically, rape as a plot device sucks, but if you’re going to do it then fucking do it; commit and make it ABOUT ANNA, make it about what she’s going through and how she finds healing, not about how her trauma is affecting poor st. bates.  also, this whole thing was so tonally out of place with the show which up until this point had never had any kind of graphic content; there were absolutely no warnings for viewers other than a vague note about the episode being graphic and that was not okay.  as someone who watches corrie pretty religiously i know that itv occasionally puts up hotline numbers after triggering episodes, with a notice like ‘if you’ve been affected by tonight’s episode, you can call this number’ - they should have done something like that, because the amount of viewers who were seriously triggered after just wanting to enjoy their harmless period drama was seriously unacceptable. 3. this show’s lack of awareness of who the ‘good’ characters actually are.  and i don’t mean ‘good’ like complex, well written, etc.; i mean good as in, if these characters were real they would be Good People.  carson and bates, two insufferably sanctimonious characters who treat their coworkers with practiced indifference at best and malice at worst are constantly lauded by the narrative for being Good People because….. ??  lady mary who is written as more and more selfish and petty and uncaring with each successive season is still the character whose happiness we’re meant to root for, because….. ??  meanwhile, thomas and edith, who both did some bad things in the first season but who have shown a lot of growth since then are constantly treated by the narrative like their characters haven’t matured a single day, as though doing one Bad Thing makes you a Bad Person for Life.  that lack of compassion shown to thomas and edith’s humanity - seeing as they’re two characters that viewers are most drawn to, for how flawed they are - really shows that julian fellowes doesn’t know what the fuck he was doing while attempting to depict how these characters related to each other over a ten year period.  while we did see individual character growth, the way the characters related to one another never seemed to change, which was ridiculous. 4. sybil and matthew’s deaths.  i’m grouping them together.  sybil, because killing the show’s most outspoken feminist character in childbirth was fucking terrible, and matthew, because that was one of the stupidest and corniest death scenes ever and the way the show’s quality plummeted in the aftermath was almost painful.  damn you dan stevens for wanting out of your contract, though i can’t say i blame you.5. fellowes dropped the fucking ball with jimmy kent.  in thomas we have a gay character who’s always known exactly who he is and been comfortable with that, which is great, but here we also had a great opportunity to show a different side of being lgbt+ in that period.  why did thomas’s advances scare jimmy so much???  perhaps this is rooted in deep-seeded confusion and doubt and self-loathing and he’s lashing out violently against thomas because he’s afraid of confronting his own sexuality???  perhaps season 4 can be an in-depth exploration of this????  no, he’s just a sort of homophobic dick?  ok.  well, that sucks.

a little life

1. malcolm’s character was tragically under-used.  though it wasn’t a story about the four of them as much as it was just about jude, willem and jb were still distinct and vibrant and memorable and malcolm sadly faded to the background.  add to that the fact that he was one of the two main black characters; i just consistently wished hanya would do a bit more with him.2. caleb.  i’ve said before about this book that it requires a certain level of suspension of disbelief, because as much as it’s ~realistic fiction~ the point is that it isn’t Entirely Realistic.  a hell of a lot of fucked up shit happens in this book.  but i was okay with that because it was all part of the journey that hanya was taking us on?  it wasn’t all believable but she made me believe it.  etc.  anyway, i found caleb to be the one exception.  i didn’t find it even remotely likely that jude would make an exception to his lifelong aversion to opening up to people, only to finally try out a relationship….. with an actual psychopath.  this is the only point in the book where i felt like ‘okay, this is too much.’  i would just edit out caleb’s entire character. 3. i wish there were more female characters.  i’m actually more okay with the lack of female characters here than i usually am (because the whole exploration of how jude relates to the men around him is Entirely The Point), but still.  still.4. spoiler spoiler spoiler spoiler i hated the offhand mention of andy dying in the final chapter.  the fact that ALL THESE CHARACTERS DIED YOUNG (minus jb) just seems so unlikely and i hate when major character deaths are mentioned in an offhand way like that.5. in what universe would willem have played odysseus in an iliad/odyssey film adaptation i am sorry but as certified Classics Trash i am here to tell you that willem was born to play achilles wtf.

[aberrantanomaly03]

I admire more than a few people here but of the TS fandom, I think you, @pirate-patton, pattonscardigan, aaanndd.. princeyandanxiety are the ones I admire most (and I’ll say that the reason I only tagged Andi here is bc I’m slightly scared to interact with pattonscardigan and princeyandanxiety even though I know they won’t bite or something it’s just scary)

I could ramble for literally hours about what I’ve gotten so far for this AU, *including* how I’ve gotten their names — Logan’s, Logan Ulises Parker.. Logan is a name that I found out is used a lot in England, where Parker is a slightly common(?) last name. As for Ulises... Ulises, or Odysseus in the Greek version, was the hero of Homer’s story, The Odyssey, which has Ulises/Odysseus describes as the “clever and resourceful hero” — something I always slightly imagined Logan could be, depending on situations.

Patton Corwine Taylor — Patton could also be an English name, though it was more commonly used as a *last* name for a while, and Taylor is another last name you might see a bit in England. As for Corwine.. it’s a name that, from what I found, means “heart”. Which I figured fit, since Patton is the heart.

Roman Augustin Charles — Roman is a name used in France, among other places, but I picked France because Roman is a *prince*, he is fanciful and seems to be fairly romantic sometimes, even if it’s just a fantasy. Augustin.. well, that was/is a Latin name, but it was also a title given to Roman emperors — royalty. And what is Roman? A prince! “^^ Charles is a last name also used in France.

As for Virgil.. well, his was actually far simpler. I was going to make a reference to the poet, Virgilius, with Virgil’s name, in some form, seeing as the poet was also referred to as Virgil at times (and because I like to imagine Virgil would likely have some interest in poetry, partly me projecting because writing is something that can calm me down if I’m having a bad bout of anxiety), but I ended up going with Ann, because I’d seen a lot of people use that for him and I actually did like it. As for the last name Parker.. well, that’s something including Logan that will eventually be known if I’d ever wORK ON THE FIC. Technically, right now, his last name should be Alexander, but I have him as a Parker in my notes. “^^

Sanders Sides AU (Percy Jackson—)

Oh God, this is probably going to be so bad.. or it’s been done before.. but I’m posting it anyways. (And I’m working on art for it but I can’t articulate how to draw a human body in the poses I want—)

Ok, so this is an AU kinda similar to the Hogwarts or Human! ones.. I guess? But, I mean, hopefully you can figure it out because I’m not good at explaining these things, I can explain characters, not full stories—

*Clears throat* AnywAYS ENOUGH STALLING HERE WE GO

Logan Ulises Parker (Yes I’m using the names I HC for the Human AU because bleh)

Logan, in this AU, is a child of Athena — the goddess of wisdom and strategy. He is about 16, but does often act older.

While, yes, Athena is known for battle strategies, Logan isn’t quick to jump to fighting. He and Patton share this ideology, though Logan is actually more comfortable with fighting than Patton — usually /only/ if it’s a last resort. Otherwise, he will do his best to come up with a logical solution.

Logan arrived at the camp when he was about 15, and is actually still getting the hang of the whole demigod thing. What got him to camp? Well, he isn’t sure if it’s something to actually worry about, but a drakon.

Logan, being the most logical, didn’t really believe all the demigod stuff at first, and still is sometimes convinced that he’s dreaming. His father wasn’t remarkable at all, not by Logan’s standards, he was just a person. /Logan/ was just a person. And yet, he found himself believing it more and more with every incredible thing he saw the others do. Not just the friends he made, but /everyone/ at this camp. He still can’t believe creatures — people.. — like Chiron exist. But they do. And it’s amazing. He didn’t meet the others — Virgil, Patton, and Roman — until a bit after.

..Well, excluding Patton. Patton was the oldest, and there before all of the other three. (The order they arrived was Patton, Virgil, Logan, and then Roman)

Logan hasn’t actually found /his/ weapon yet and he’s starting to get worried. Not that he’ll let that on.

Virgil Ann Parker (Also going with the fact that Virgil and Logan are siblings, but under different circumstances this time)

Virgil is 14, a child of Oizys, who — unsurprisingly — is the goddess of anxiety.

Virgil arrived at the camp when he was 12, and he is the youngest of them all. He’s definitely still getting used to the whole concept, and is having a hard time adjusting — he /hates/ change, and this is one of the biggest he’s met so far. He actually doesn’t remember what got him to camp, having completely blocked it out — which some people are still amazed he did. Some people slightly doubt that he did, though, as he still grows nervous whenever the topic is brought up.

Being the most anxious, Virgil is definitely having a hard time with the ‘being-a-demigod’ thing. He felt left out as it was before all this, but now it’s only more so. He hasn’t found his power.. or ability.. whatever it’ll be.. yet. I mean.. unless you count excessive anxiety. He’s starting to lose hope he ever will find it at all.

He was definitely what you’d call a ‘troubled child’, the most out of all of them. Sure, the others caused trouble or attracted monsters, but Virgil’s attitude and temper was what caused him the most problems. But, no, his parentage didn’t actually seem to help. So far, though, one of the things that’s surprised Virgil most was Logan — after he found out Virgil didn’t really have anyone to see or talk to for Christmas or similar occasions, he (Logan) convinced his father to allow Virgil to come with him, should he ever want to.

Virgil’s weapons are just a couple bronze daggers.

Patton Corwine Taylor

Patton is 17, a child of Dikē, the goddess of justice and moral order. (This might be changed later, I really am not sure. But, for the time being, I chose Dikē.)

Patton got to the camp when he was 13, and has been there the longest of the four, as well as being the oldest. He adjusted pretty quickly, as he had/has quite a bit of imagination, and was never one to completely dispute things without knowing. He actually thinks it all pretty fun, minus the whole monster-thing. He doesn’t talk about what got him to camp much, either — but he doesn’t make the excuse that he blocked it out, like Virgil, he simply states that it’s not important — he’s here now, and he’s alive. That’s all that really matters about it to him.

He, as mentioned, didn’t have too hard of a time. Of course, there /are/ things that bother him, but he tries not to let it get to him too much. He especially loves the pegasi, and jumps at the chance to be around them. He has done his best to accommodate as many new kids as possible, and is set on getting Virgil to be more optimistic, as well as Logan to stop doubting it so much. Roman doesn’t need as much persuasion, he’s always seemed the adventurous type, so this was a kinda fun thing for him.

Of course, Patton has had a few run-ins, but nothing horrible.

His weapon is a bronze shortsword. (Not that he uses it that much)

Roman Charles Augustin

Roman is 15, and a child of Apollo, the god of art, music, poetry, etc.

Roman only got there this year, not long after his birthday. He, as well, adjusted quickly, as he always was an adventurous type, and loved stories like these — so you could imagine his excitement when he found out. He finds it all great fun, including the monsters — he feels like a hero from one of his stories.

He’s actually the most open about what got him to camp — an empousai.

He hasn’t had a hard time either — quite the opposite, it seems he has had a good time with it all, even with the possible injuries — they’re all part of the experience to him. The one thing that does seem to bother him, though, is how kids from cabins like Hades or Oizys — the latter was only brought to his attention after meeting Virgil — are treated, simply because their parents are ‘dark’, and has actually spent some time trying to fix this. He tried to get kids like Virgil to be welcomed more, but sometimes becomes a bit of a hypocrite when a particularly ‘creepy’-looking kid comes around. Which, obviously, Virgil isn’t too happy about. (“Ro, you literally just did what you’ve been trying to get people to stop” “What? *Pshh* No, I’m not”) (He always owns up to it and apologizes, though) (Or he tries to, at least, he’s obviously not perfect)

His weapon is a bronze broadsword — something he was quite happy with, considering how it looks.

(Did ya notice something that set Logan apart from the others?? YEA, I DIDN’T GIVE HIM A WEAPON! I just.. *Sigh* I’m not knowledgeable enough with weapons to actually be able to figure out which would be fitting for Logan.)

( @thatsthat24 uh.. what.. do you think..?)

[architectnews]

Nancy and Rich Kinder Building: MFAH

Museum of Fine Arts Houston Nancy and Rich Kinder Building, Architect, MFAH Photos, USA

Nancy and Rich Kinder Building, MFAH Texas

Sep 15, 2020

Museum of Fine Arts Houston Expansion

Design: Steven Holl Architects

Museum Of Fine Arts Houston Opens New Steven Holl Building On 21 November

Nancy and Rich Kinder Building from above: photograph : Peter Molick, Thomas Kirk III

MFAH ANNOUNCES DETAILS OF INAUGURAL INSTALLATIONS

IN ITS NEW NANCY AND RICH KINDER BUILDING,

OPENING TO THE PUBLIC SATURDAY, NOVEMBER 21

Dedicated to the Museum’s first comprehensive display of its international collections of modern and contemporary art, galleries span media from painting and sculpture to craft and design, video, and immersive installations

HOUSTON—September 15, 2020—Gary Tinterow, Director, the Margaret Alkek Williams Chair, the Museum of Fine Arts, Houston, today announced details of the installations that will be on view when the new Nancy and Rich Kinder Building opens to the public on Saturday, November 21, 2020. This date is adjusted from the originally forecast date of November 1, due to the effects of the pandemic, and recent hurricane preparations, on final construction work.

Exterior view of the Nancy and Rich Kinder Building: photograph : Peter Molick

Designed by Steven Holl Architects as the third gallery building on the MFAH Susan and Fayez S. Sarofim Campus, the Kinder Building is dedicated to presenting works from the Museum’s international collections of modern and contemporary art. It will open with the first comprehensive installation of these works, drawn from the collections of Latin American and Latino art; photography; prints and drawings; decorative arts, craft, and design; and modern and contemporary art.

In celebration of the opening, the Museum will offer free general admission to all three of its Sarofim Campus gallery buildings for opening weekend, and to the Kinder Building through Wednesday, November 25.

photograph : Peter Molick

Gary Tinterow said, “In the dynamic spaces that Steven Holl Architects has designed for the Nancy and Rich Kinder Building, our distinctive holdings of modern and contemporary art will soon have the showcase they deserve. This area of our collection continues to grow rapidly, thanks to the exceptional endowment for acquisitions provided by our donors, with the late Caroline Wiess Law at the forefront. We are thrilled that we can now present recent purchases and our historic acquisitions in depth and breadth, bringing our audiences a wealth of recognized masterpieces as well as discoveries by lesser-known artists.”

photograph : Peter Molick

The Nancy and Rich Kinder Building contains both departmental and cross-departmental galleries. This approach will allow visitors to not only delve into the materials, geographies, and art forms in which modern and contemporary art have developed, but also to explore the ways in which varied artistic ideas, styles, and themes have transcended those boundaries. The multiple stories of modern and contemporary art-making are articulated throughout the building.

A flexible black-box gallery at the street-level entry of the Kinder Building will be permanently devoted to immersive installations. The three inaugural works will be The Hydrospatial City (1946–72), a hovering, utopian vision for an architecture in outer space by Argentinean artist Gyula Kosice; Caper, Salmon to White: Wedgework (2000), a light-filled environment by American artist James Turrell; and Aftermath of Obliteration of Eternity (2009), an Infinity Light Room by Japanese artist Yayoi Kusama.

A windowed gallery facing Main Street on this level includes Lezart I (1989), a monumental configuration of embroidered silk, metal objects, and cast-metal lizards by Brazilian artist Tunga, adjacent to the Museum’s historic 1965 acquisition of kinetic sculptures by Swiss artist Jean Tinguely. Moon Dust (Apollo 17) (2009), an installation of suspended lights by American artist Spencer Finch, will hang in the café space.

photograph : Peter Molick

The second-floor galleries will be organized by curatorial department, and each will highlight collection strengths. Suites of galleries will be devoted to the history of photography; decorative arts, craft, and design; prints and drawings; European and American 20th-century painting and sculpture; and Latin American Modernism. Incorporating all major movements, and representing the internal histories of these media, the galleries will create novel juxtapositions by cutting across national borders and chronological categories. Decorative arts and works on paper will be interspersed among paintings and sculpture in the European, American, and Latin American galleries.

The third-floor galleries will feature thematic exhibitions. Five inaugural thematic installations will present art from the 1960s onward. These are Collectivity, exploring interdisciplinary works that activate a sense of community; Color into Light, showcasing the dynamic role that color has played in the independent but often parallel investigations of artists in the United States, Latin America, and Europe; LOL!, featuring more than 50 works that use humor as a strategy; Border, Mapping, Witness, with works that consider maps and borders in geographic, social, and political terms; and Line into Space, which examines how artists have explored line in multiple dimensions and media, from works on paper to jewelry, three-dimensional constructions, and furniture.

photograph : Peter Molick

Selected Highlights of the Installations

The MFAH has an exceptional collection of a dozen mechanical sculptures by Jean Tinguely, dating from 1954 to 1967. Nine of these sculptures will be the centerpiece of an entry-level gallery on the theme of Materials and Motion, which will also include works by like-minded artists such as Niki de Saint Phalle and Jesús Rafael Soto, the latter represented by four constructions from 1956 through 1974.

On the second floor, visitors will find a suite of galleries presenting five collection areas in depth.

  The modern and contemporary art departmental galleries will survey European and American Modernism from 1910 to the 1970s, as well as works that existed outside this historical canon. Opening with signature paintings by Henri Matisse, Georgia O’Keeffe, and Pablo Picasso, the installation also features examples by the Czech vanguard and sculptures by Richmond Barthé and William Edmondson. Works by New York artists who ushered in Modernism at mid-century—from Franz Kline and Jackson Pollock to Lee Krasner and Joan Mitchell—are complemented by their European and Latin American contemporaries, including Alberto Giacometti and Roberto Matta. Texas artists Forrest Bess, John Biggers, and Dorothy Hood are included in this segment, as is a recently acquired sculpture by Richard Hunt. Pop Art and Figuration conclude these galleries with works by Robert Rauschenberg and Andy Warhol, as well as Alice Neel’s psychologically charged 1970 group portrait The Family.

  The installation from the MFAH department of Latin American art will include the first presentation in more than a dozen years of the unparalleled Adolpho Leirner Collection of Brazilian Constructive Art, featuring trailblazing works from the 1950s and 1960s by artists such as Lygia Clark, Waldemar Cordeiro, Hélio Oiticica, and Alfredo Volpi. Also on view will be a broad selection of the Museum’s exceptional holdings of paintings, wood constructions, and decorative arts by Joaquín Torres-García and the so-called School of the South; cutout frames and interactive structures by Argentinean, Cuban, and Uruguayan Concrete artists; an installation of approximately 100 monotypes by Mira Schendel considered the largest work of this scale the artist ever produced; and constructions and assemblages by Elsa Gramcko, who is only now being discovered more widely.

  The department of prints and drawings will present displays encompassing Modernists from Europe and the Americas (Arthur Dove, Edward Hopper, John Marin, Henri Matisse, Diego Rivera, Xul Solar); the Expressionists (Ernst Ludwig Kirchner, Paul Klee, Käthe Kollwitz, Edvard Munch, Egon Schiele); the American Regionalists, including Grant Wood; and the Abstract Expressionists and beyond (William Baziotes, Richard Diebenkorn, Arshile Gorky, Eva Hesse, Lee Krasner, Jackson Pollock). Three thematic installations will showcase strengths of the MFAH collection: holdings of works by Jasper Johns, Sam Gilliam, Claes Oldenburg, Howardena Pindell, Robert Rauschenberg); artists, including Louise Bourgeois, Chris Ofili, Kiki Smith, and Lisa Yuskavage, who convey personal meaning through reinterpretations of classical myths and religious stories or their own invented tales, in a presentation centered around Romare Bearden’s collage Odysseus Leaves Circe (1977); and artists’ responses to the world’s shifting environment, with works by Christiane Baumgartner, Huma Bhabha, Vija Celmins, Ólafur Elíasson, and Robyn O’Neil.

  The decorative arts, craft, and design department will show an international range of design and craft dating from 1890 to the present. A focus on British Reform, the Wiener Werkstätte, and the Bauhaus will include Josef Hoffmann’s rare Dining Chair from the Purkersdorf Sanatorium (1904) and one of the earliest known examples of Ludwig Mies van der Rohe’s Model MR 90 Chair (1930). Italian design from 1960 to 1985 and contemporary design, including a selection of Ettore Sottsass’s ceramics (1950–68) and recent work by Ron Arad, Andrea Branzi, and Joris Laarman will also be highlighted. The galleries will include ample representation of the Museum’s distinguished craft collections, including works from the Garth Clark and Mark Del Vecchio Collection of contemporary ceramics; the Helen Williams Drutt Collection of contemporary jewelry; and the Leatrice S. and Melvin B. Eagle Collection of contemporary craft.

  The galleries for the department of photography will present more than 150 works from every period and major movement, 1840 to the present. In addition to this chronological presentation, thematic groupings cutting across borders, formats, and years highlight turning points in photographic history. Themes include French and American daguerreotypes, avant-garde photography in the period between the World Wars, Robert Frank’s epoch-making The Americans, and portraits that convey the variety and ubiquity of photography, from vernacular ID badges to a towering photomural by South African artist Zanele Muholi. A gallery of large-scale contemporary photographs features work by Sarah Charlesworth, Thomas Demand, Stan Douglas, Barbara Probst, Manjari Sharma, Laurie Simmons, Thomas Struth, and Guanyu Xu. Another presents video and time-based media by Fabiana Cruz, Diller and Scofidio, William Kentridge, Christian Marclay, Allison Schulnik, and others.

  On the third floor, five exhibitions will address themes in contemporary art since the 1960s.

  Highlights of the Collectivity installation—which explores artists’ use of diverse materials and techniques to reflect on ideas of community—include the full set of Carrie Mae Weems’s Kitchen Table Series of photographs (1990); Mark Bradford’s monumental Circa 1992 (2015); vibrant lithographs by Wendy Red Star; Beatriz Gonzalez’s Mutis por el foro (1973), a metal bedframe depicting the death of Simón Bolivar; and Teresa Margolles’s Lote Bravo (2005), an installation of 400 adobe bricks, each made by hand out of the soil where murdered women had been buried in Ciudad Juárez.

  Color into Light highlights artists’ investigations of “color as a situation,” in the words of Carlos Cruz-Diez. This installation features work by artists celebrated for their study of color dynamics, including Cruz-Diez, Josef Albers, and Hans Hofmann, as well as Sam Gilliam, Hélio Oiticica, and Ettore Sottsass; neon pieces by Gyula Kosice and Keith Sonnier; investigations of transparency by Fred Eversley and Shiro Kuramata; and cameraless photographs by Christopher Bucklow and Susan Deges.

  LOL! features now-classic sculptures, photographs, and videos by Claes Oldenburg, Tony Oursler, Sandy Skoglund, and William Wegman, as well as surprising works including Anna and Bernhard Blume’s staged Oedipal Complications photographs (1977–78); Grupo Mondongo’s Plasticine Calavera 4 (2009), with its humorously re-contextualized sociopolitical, pop-culture, and art-historical references; improbable furniture prototypes by the Campana Brothers and KAWS (2000 and 2017); and Yoshitomo Nara’s untitled drawings of wide-eyed, devilishly cute, and mischievous girls (2005).

  Border, Mapping, Witness brings together works in all media that reflect on what it means to critically engage the notion of border as a flexible political, cultural, and psychological limit fraught with violence (James Drake, Ramiro Gomez, Luis Jiménez, Amalia Mesa-Bains, Camilo Ontiveros, Miguel Ángel Rojas, David Taylor); survey and rationalize a terrain (Carlos Garaicoa, Zarina Hashmid, Guillermo Kuitca, Julie Mehretu, Fazal Sheikh, Rosemarie Trockel, Norwood Viviano); and bear witness to the social injustices and cruel struggles of our time (Richard Avedon, Christian Boltanski, Erika Diettes, Melvin Edwards, Carmela Gors, Glenn Ligon, Oscar Muñoz, Betye Saar, Doris Salcedo, Kara Walker).

  Line into Space focuses on artists’ exploration of line, in which line is freed from representation, producing two- and three-dimensional objects that explore form, space, light, and transparency as autonomous elements. It features more than two dozen works by Gego, including drawings, sculptures, and a watercolor, presented with works including Jean Tinguely’s kinetic sculpture Méta-Malevich (1954) and Brice Marden’s painting Hydra, Summer 1990 (1990).

  These first installations in the Kinder Building are accompanied by eight major site-specific commissioned works that will be inaugurated at the time of the opening. Commissioned artists are El Anatsui, Byung Hoon Choi, Carlos Cruz-Diez, Ólafur Elíasson, Trenton Doyle Hancock, Cristina Iglesias, Jason Salavon, and Ai Weiwei. These commissions join additional recent acquisitions to be featured in the Kinder Building, including works by Magdalena Abakanowicz, Glenn Ligon, Martin Puryear, Ursula von Rydingsvard, Doris Salcedo, and Kara Walker.

photograph : Peter Molick

The Nancy and Rich Kinder Building stands in complementary contrast to the Museum’s existing gallery buildings—the Caroline Wiess Law Building (designed in the 1920s by William Ward Watkin, with later extensions by Ludwig Mies van der Rohe) and the Audrey Jones Beck Building (designed by Rafael Moneo, opened in 2000)—and in dialogue with the adjacent 1986 Lillie and Hugh Roy Cullen Sculpture Garden, designed by Isamu Noguchi. The trapezoidal concrete Kinder Building is clad in vertical glass tubes that emit a soft glow at night in a pattern across its facades. Five rectangular courtyard pools are inset along the perimeter, emphasizing the building’s openness to its surroundings.

The redevelopment of the Sarofim Campus and off-site art-storage facilities has been the largest cultural project in North America, with some 650,000 square feet of new construction. Steven Holl Architects designed the master plan for the redevelopment, along with the Kinder Building and a new home for the Glassell School of Art. Lake|Flato Architects designed the Museum’s new Sarah Campbell Blaffer Foundation Center for Conservation. Both the school and conservation center opened in 2018. Green spaces by Deborah Nevins & Associates, in collaboration with Mario Benito, unify the 14-acre campus and make it a walkable urban oasis in Houston’s increasingly dense Museum District.

Support for the Campus Project

The MFAH initiated its Campaign for the Museum of Fine Arts, Houston in January 2012 with a goal of $450 million, including the operating endowment. The campaign has exceeded expectations, raising more than $470 million to date. Based on the continued interest in Houston to support the Museum and the campaign, the MFAH has continued to fundraise.

Steven Holl

Museum of Fine Arts Houston Nancy and Rich Kinder Building information / photos received 150920

Previously on e-architect:

Feb 2, 2012

Museum of Fine Arts Houston Expansion

New Facilities For Museum of Fine Arts, Houston

The Caroline Wiess Law Building, MFAH, by Mies van der Rohe: photograph © MFAH

Museum of Fine Arts Houston Expansion design by Steven Holl Architects, NY, USA

2011 Museum of Fine Arts Houston Expansion Architects

The Audrey Jones Beck Building, MFAH, by Rafael Moneo: photograph © Robb Williamson

Museum of Fine Arts Houston original gallery building architect : Mies van der Rohe

Museum of Fine Arts Houston – existing gallery building architect : Rafael Moneo

Museum of Fine Arts Houston Expansion information from MFAH

Location: Museum of Fine Arts, Houston, Texas, USA

Houston Architecture

Houston Building Designs

Houston Architecture images © Houston Airport System

Houston Ballet Design: Marshall Strabala, Gensler image : Nic Lehoux Houston Ballet Building

Rice University Dormitories – North College redevelopment Design: Hopkins Architects photo © Robert Benson North College Rice University

General Services Administration Office Building PageSoutherlandPage GSA Field Office

Texas Architecture

Perot Museum of Nature & Science, Dallas Morphosis Perot Museum of Nature & Science

Houston Architects

Museum of Contemporary Art Cleveland

Buildings / photos for the Museum of Fine Arts Houston Expansion page welcome

Website: USA

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[loribos]

New Post has been published on Toronto Events, Activities and Entertainment

New Post has been published on https://www.torontonicity.com/2018/11/13/margaret-atwoods-the-penelopiad-at-hart-house-theatre/

Margaret Atwood's The Penelopiad at Hart House Theatre

Hart House Theatre is currently performing The Penelopiad, from Nov. 9-24, 2018. The Penelopiad is based on the 2005 novella by Margaret Atwood, and this production is the Hart House Theatre debut for Director Michelle Langille. The play revolves around the story of Penelope as she struggles to maintain order, while her husband, Odysseus, is off to save Helen of Troy. This is a must-see for any fan of Atwood, as it reworks the events of The Odyssey to focus on the female perspective and experience.

I’ve spoken highly of Hart House Theatre’s past seasons, because they really do a wonderful job of nurturing creativity in their production teams, but this is absolutely my favourite show that I have seen thus far! Everything from set design, costumes, lighting, all the way through to the cast, was just phenomenal.

The women of the ensemble, Amanda Cordner as Penelope in The Penelopiad at Hart House Theatre, photo credit Scott Gorman

I’m going to start with the first thing that sets the tone upon entering the theatre: the stage. Set Designer Holly Meyer-Dymny did a wonderful job of creating a set that not only conveyed the whimsy of the classic myths, but it also allowed for the most fantastic levels throughout the show. Centre stage appears to be a dock, with the illusion of water in the background, and heavy white rope throughout that is eventually transformed by the entire cast to give the illusion of a ship. The transformation is so successful, and despite being done before the audience’s very eyes, still leaves one in awe at how it all came together. Absolutely gorgeous set!

The cast of thirteen were all dressed in identical nude-toned robes, with the exception of Penelope herself who wore a teal-coloured dress with jewels and gold accessories. The nude robes and nude sandals worked perfectly to set the play during the classical Greek era, but also brought the twelve actors together as a full chorus. Costume Designer Cat Haywood skillfully used accessories that transformed each chorus member into other characters in the cleverest comedic way, like using tassels and upholstery finishes to create a wig and bear.

Steph Raposo’s background lights on stage are magical and range through every colour of the rainbow, but they’re perfectly synced with mood and movements of the actors. There’s no soundtrack or music, aside from the chorus themselves, so the additional sound effects by Sound Designer Andy Trithardt work to transform the space and whisk the audience away to a completely different time.

The chorus is played by such strong actors, and each of them bring acute comedic timing. Arielle Zamora is hilarious as Odysseus! She understands the arrogance and dumb-luck written into the character by Atwood and showcases those elements perfectly. One of the biggest laughs from the audience came from the smallest moment, and Zamora absolutely nailed it! Hope to see this actor again on the Hart House Theatre stage, as I’m sure it’ll be another brilliant performance.

Despite being set in classical Greece, the language of The Penelopiad is quite modern at times, which can be tricky to balance for an actor. Amanda Cordner plays Penelope, and does a superb job of presenting the grand emotions of the love story, the gut-wrenching reality of Odysseus’s return, as well as the cynicism and hilarity of having to out-manoeuver her impatient suitors. She takes the audience on a journey with the character in such a vivid manner that you can’t help but feel invested and grieve with Penelope when everything hits the fan.  I cannot speak highly enough about Cordner’s performance in The Penelopiad.

It’s important to note that Atwood’s novella works to highlight the double-standard between the sexes, but also to question the notion of a “good and dutiful wife.” Director Langille points out that in our current political and societal climate, it’s important to reflect upon the silencing dismissal of women’s voices.

Once again, Hart House Theatre presents a work of art that is sadly more relevant than ever, and an opportunity for the audience to reflect on serious matters of life. The Penelopiad is absolutely gorgeous and well worth watching. Again, fantastic job to both the cast and the production crew! Make sure to grab your tickets before closing night because this is absolutely one show you’ll regret missing.

The Penelopiad at Hart House Theatre runs until November 24, 2018. Tickets are Adults $28, Seniors $17 and Students $15. On Wednesdays, student admission is $12. Book online and pick up tickets at the Hart House Theatre Box Office before the show.