#jacob rosen

[pieterserrien]

Elke naam telt: Jacob Najhaber

Ik verjaar vandaag! En ik schreef dit pijnlijke, unieke verhaal over het Brusselse Holocaustslachtoffer Jacob Najhaber. Lees meer via onderstaande link! #Elkenaamtelt #kazernedossin #evafastag

Het is 8 juni 2024 en vandaag word ik 39 jaar. Dit is precies dezelfde leeftijd als Jacob Najhaber bereikte op 8 juni 1943. Deze Brusselaar maakte zijn verjaardag door op een gruwelijke plaats, gewoon omdat hij Jood was. Tot voor kort had ik nog nooit van hem gehoord. Dankzij het project Elke naam telt heb ik echter een bijzondere verbinding met deze man gekregen. Vier maanden geleden sprak ik…

[legallybrunettedotcom]

BUFFY READING LIST

As promised @possession1981 and I have compiled a list of Buffy the Vampire Slayer (and Angel) related academic text and books. I think this is a good starting point for both a long time fan and for someone just getting into the show, or just someone interested in vampire lore. I have included several books about the vampire lore and myth in general as well. Most of these are available online.

BOOKS

Fighting the Forces: What's at Stake in Buffy the Vampire Slayer; edited by Rhonda V. Wilcox & David Lavery

Buffy the Vampire Slayer and Philosophy - Fear and Trembling in Sunnydale by James B. South

Buffy Goes Dark: Essays on the Final Two Seasons of Buffy the Vampire Slayer on Television, edited by Lynne Y. Edwards, Elizabeth L. Rambo & James B. South

Buffy the Vampire Slayer: Myth, Metaphor and Morality by Mark Field

Televised Morality: The Case of Buffy the Vampire Slayer by Gregory Stevenson

Undead TV: Essays on Buffy the Vampire Slayer by Elana Levine

The Aesthetics of Culture in Buffy the Vampire Slayer by Matthew Pateman

Girls Who Bite Back: Witches, Mutants, Slayers and Freaks by Emily Pohl-Weary

Why Buffy Matters: The Art of Buffy the Vampire Slayer by Ronda Wilcox

Into Every Generation a Slayer Is Born: How Buffy Staked Our Hearts by Evan Ross Katz

The Lure of the Vampire: Gender, Fiction, and Fandom from Bram Stoker to Buffy the Vampire Slayer by Milly Williamson

Blood Relations: Chosen Families in Buffy the Vampire Slayer and Angel by Jes Battis

Sex and the Slayer: A Gender Studies Primer for the Buffy Fan by Lorna Jowett

Diseases of the Head: Essays on the Horrors of Speculative Philosophy; edited by Matt Rosen (chapter 2 Death of Horror)

Public Privates: Feminist Geographies of Mediated Spaces by Marcia R. England (chapter 1 Welcome to the Hellmouth: Paradoxical Spaces in Buffy the Vampire Slayer)

Open Graves, Open Minds: Representations of Vampires and the Undead From the Enlightenment to the Present Day; edited by Sam George and Bill Hughes (chapter 8 ‘I feel strong. I feel different’: transformations, vampires and language in Buffy the Vampire Slayer)

The Contemporary Television Series; edited by Michael Hammond and Lucy Mazdon (chapter 9 Television, Horror and Everyday Life in Buffy the Vampire Slayer)

Joss Whedon and Race: Critical Essays; edited by Mary Ellen Iatropoulos and Lowery A. Woodall III

Buffy and the Heroine's Journey: Vampire Slayer as Feminine Chosen One by Valerie Estelle Frankel

The Existential Joss Whedon: Evil and Human Freedom in Buffy the Vampire Slayer, Angel, Firefly and Serenity by J. Michael Richardson and J. Douglas Rabb

Buffy the Vampire Slayer 20 Years of Slaying: The Watcher's Guide Authorized by Christopher Golden

Reading the Vampire Slayer: The Complete, Unofficial Guide to 'Buffy' and 'Angel' by Roz Kaveney

Hollywood Vampire: The Unnoficial Guide to Angel by Keith Topping

Buffy the Vampire Slayer: The Monster Book by Christopher Golden

Slayer Slang: A Buffy the Vampire Slayer Lexicon by Michael Adams

What Would Buffy Do? The Vampire Slayer as Spiritual Guide by Jana Riess

ARTICLES, PAPERS ETC.

Bibliographic Good vs. Evil in Buffy the Vampire Slayer by GraceAnne A. DeCandido

Undead Letters: Searches and Researches in Buffy the Vampire Slayer by William Wandless

Weaponised information: The role of information and metaphor in Buffy the Vampire Slayer by Jacob Ericson

Buffy, Dark Romance and Female Horror Fans by Lorna Jowett

My Vampire Boyfriend: Postfeminism, "Perfect" Masculinity, and the Contemporary Appeal of Paranormal Romance by Ananya Mukherjea

Buffy, The Vampire Slayer as Spectacular Allegory: A Diagnostic Critique by Douglas Kellner

"Buffy the Vampire Slayer": Technology, Mysticism, and the Constructed Body by Sara Raffel

When Horror Becomes Human: Living Conditions in "Buffy the Vampire Slayer" by Jeroen Gerrits

Post-Vampire: The Politics of Drinking Humans and Animals in "Buffy the Vampire Slayer, Twilight", and "True Blood" by Laura Wright

Cops, Teachers, and Vampire Slayers: Buffy as Street-Level Bureaucrat by Andrea E. Mayo

"Not Like Other Men"?: The Vampire Body in Joss Whedon's "Angel" by Lorna Jowett

Buffy the Vampire Slayer and the Domestic Church: Revisioning Family and the Common Good by Reid B. Locklin

“Buffy vs. Dracula”’s Use of Count Famous (Not drawing “crazy conclusions about the unholy prince”) by Tara Elliott

A Little Less Ritual and a Little More Fun: The Modern Vampire in Buffy the Vampire Slayer by Stacey Abbott

Undressing the Vampire: An Investigation of the Fashion of Sunnydale’s Vampires by Robbie Dale

"And Yet": The Limits of Buffy Feminism by Renee St. Louis & Miriam Riggs

Meet the Cullens: Family, Romance and Female Agency in Buffy the Vampire Slayer and Twilight by Kirsten Stevens

Bliss and Time: Death, Drugs, and Posthumanism in Buffy the Vampire Slayer by Rob Cover

That Girl: Bella, Buffy, and the Feminist Ethics of Choice in Twilight and Buffy the Vampire Slayer by Catherine Coker

A Slayer Comes to Town: An Essay on Buffy the Vampire Slayer by Scott Westerfeld 

Undead Objects of a “Queer Gaze” : A Visual Approach to Buffy’s Vampires Using Lacan’s Extended RSI Model by Marcus Recht

When You Kiss Me, I Want to Die: Gothic Relationships and Identity on Buffy the Vampire Slayer by Ananya Mukherjeea

Necrophilia and SM: The Deviant Side of Buffy the Vampire Slayer by Terry L. Spaise

Queering the Bitch: Spike, Transgression and Erotic Empowerment by Dee Amy-Chinn

“I Want To Be A Macho Man”: Examining Rape Culture, Adolescent Female Sexuality, and the Destabilization of Gender Binaries in Buffy the Vampire Slayer by Angelica De Vido

Staking Her Claim: Buffy the Vampire Slayer as Transgressive Woman Warrior by Frances H. Early

Actualizing Abjection: Drusilla, the Whedonversees’ Queen of Queerness by Anthony Stepniak

“Life Isn’t A Story”: Xander, Andrew and Queer Disavowal in Buffy the Vampire Slayer by Steven Greenwood

S/He’s a Rebel: The James Dean Trope in Buffy the Vampire Slayer by Kathryn Hill

“Once More, with Feeling”: Emotional Self-Discipline in Buffy the Vampire Slayer by Gwynnee Kennedy and Jennifer Dworshack-Kinter

“The Hardest Thing in This World Is To Live In It”: Identity and Mental Health in Buffy the Vampire Slayer by Alex Fixler

"Love's Bitch But Man Enough to Admit It": Spikes Hybridized Gender by Arwen Spicer

Negotiations After Hegemony: Buffy and Gender by Franklin D. Worrell

Double Trouble: Gothic Shadows and Self-Discovery in Buffy the Vampire Slayer by Elizabeth Gilliland

'What If I'm Still There? What If I Never Left That Clinic?': Faërian Drama in Buffy's "Normal Again" by Janet Brennan Croft

Not Gay Enough So You’d Notice: Poaching Fuffy by Jennifer DeRoss

Throwing Like A Slayer: A Phenomenology of Gender Hybridity and Female Resilience in Buffy the Vampire Slayer by Debra Jackson

“You Can’t Charge Innocent People for Saving Their Lives!” Work in Buffy the Vampire Slayer by Matt Davies

Ambiguity and Sexuality in Buffy the Vampire Slayer: A Sartrean Analysis by Vivien Burr

Imagining the Family: Representations of Alternative Lifestyles in Buffy the Vampire Slayer by Vivien Burr and Christine Jarvis

Working-Class Hero? Fighting Neoliberal Precarity in Buffy’s Sixth Season by Michelle Maloney-Mangold

A Corpse by Any Other Name: Romancing the Language of the Body in Mary Shelley's Frankenstein for the Adam Storyline in Buffy the Vampire Slayer by Amber P. Hodge

Sensibility Gone Mad: Or, Drusilla, Buffy and the (D)evolution of the Heroine of Sensibility by Claire Knowles

"It's good to be me": Buffy's Resistance to Renaming by Janet Brennan Croft

Death as a Gift in J.R.R. Tolkien’s Work and Buffy the Vampire Slayer by Gaelle Abalea

“All Torment, Trouble, Wonder, and Amazement Inhabits Here": The Vicissitudes of Technology in Buffy the Vampire Slayer by James B. South

Staking Her Colonial Claim: Colonial Discourses, Assimilation, Soul-making, and Ass-kicking in Buffy the Vampire Slayer by Jessica Hautsch

“I Run To Death”: Renaissance Sensibilities in Buffy the Vampire Slayer by Christine Jarvis

Dressed To Kill: Fashion and Leadership in Buffy the Vampire Slayer by Christine Jarvis and Don Adams

Queer Eye Of That Vampire Guy: Spike and the Aesthetics of Camp by Cynthea Masson and Marni Stanley

“Sounds Like Kinky Business To Me”: Subtextual and Textual Representations of Erotic Power in Buffyverse by Lewis Call

“Did Anyone Ever Explain to You What ‘Secret Identity’ Means?”: Race and Displacement in Buffy and Dark Angel  by Cynthia Fuchs

“It’s About Power”: Buffy, Foucault, and the Quest for Self by Julie Sloan Brannon

Why We Love the Monsters: How Anita Blake, Vampire Hunter, and Buffy the Vampire Slayer Wound Up Dating the Enemy by Hilary M. Leon

Why We Can’t Spike Spike?: Moral Themes in Buffy the Vampire Slayer by Richard Greene and Wayne Yuen

Buffy, the Scooby Gang, and Monstrous Authority: BtVS and the Subversion of Authority by Daniel A. Clark & P. Andrew Miller

Are Vampires Evil?: Categorizations of Vampires, and Angelus and Spike as the Immoral and the Amoral by Gert Magnusson

BOOKS ABOUT VAMPIRE LORE AND MYTH IN GENERAL

The Vampire Lectures by Laurence A. Rickels 

Our Vampires, Ourselves by Nina Auerbach

Vampires, Burial, and Death: Folklore and Reality by Paul Barber

The Secret History of Vampires: Their Multiple Forms and Hidden Purposes by Claude Lecouteux

The Vampire Cinema by David Pirie

The Living and the Undead: Slaying Vampires, Exterminating Zombies by Gregory A. Waller

Vampire Forensics: Uncovering the Origins of an Enduring Legend by Mark Jenkins

Slayers and Their Vampires: A Cultural History of Killing the Dead by Bruce A. McClelland

The History and Folklore of Vampires: The Stories and Legends Behind the Mythical Beings by Charles River Editors

Encyclopedia of Vampire Mythology by Theresa Bane

Vampires of Lore: Traits and Modern Misconceptions by A. P. Sylvia

The Vampire: A New History by Nick Groom

Vampyres: Genesis and Resurrection: from Count Dracula to Vampirella by Christopher Frayling

Race in the Vampire Narrative by U. Melissa Anyiwo

Vampires, Race, and Transnational Hollywoods by Dale Hudson

[toa-greatmind-nothingislittle]

@ponyoisms // Supernatural 4x18 - "The Monster at the End of This Book" // quote by Julian K. Jarboe // Pomegranate Jews, by Esther Rosen // "Closer to Fine" by the Indigo Girls // poem by Yehuda Amichai (taken from the "Mishkan T'filah for Travelers: A Reform Siddur") // "Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch" by Neil Gaiman and Terry Pratchet // "Cleopatra and Frankenstein" by Coco Mellors // "The Naval Treaty" by Sir Arthur Conan Doyle // photo of La Piccola Gerusalemme, taken by my parents // "JEWISH LESBIANS" Gay Freedom Day Parade, San Francisco, California c. 1978 // "The Two Towers" directed by Peter Jackson // YEHUDIT, by Pinchas EL Segal // Mi Chamochah (taken from the "Mishkan T'filah for Travelers: A Reform Siddur") // Supernatural 8x16 - "Remember the Titans" // Supernatural 5x14 - "My Bloody Valentine" // Fantasy High 1x17 - "Prompocalypse Pt. 2" // "Seven Brief Lessons on Physics" by Carlo Rovelli // "K.-4-1976," by Peter Krasnow // "The Death of Adam: Essays on Modern Thought" by Marilynne Robinson // Pirkei Avot, quote by Rabbi Tarfon // Jacob Wrestling With The Angel, by Ephraim Moses Lilien // photo of Judaica from La Piccola Gerusalemme, taken by my parents // "The Fellowship of the Ring" by J.R.R. Tolkein // Supernatural 6x15 - "Live Free or Twihard" // Kneading Dough, by Katherine Hartel // Neverafter 1x17 - "The Last Wish" // Mirjam, by Ephraim Moses Lilien // "Rosh Hashanah Postcards." Hidden Treasures: Celebrating Jewish Archives in Britain

[pjshermann]

Jude's Timeline

Since there are no dates or determinable time period (beyond the fact that it's set in the 21st century) in A Little Life, I love trying to figure out the timelines of the characters themselves. So here's Jude.

Newborn

Born in South Dakota

Abandoned as a newborn and taken in by the monastery

5 years old

Received a fossil from Brother Luke for his birthday

7 years old

Had his hand burnt by Father Gabriel

Sexual abuse by the Brothers began

8 years old

Given a set of wooden logs for his birthday

Abducted by Brother Luke and forced into prostitution

11 years old

Began cutting himself

12 years old

Rescued from Brother Luke

Placed in a boys group home in Montana

13 years old

Meets the Learys

Beaten by the counselors, causing life-long scarring on his back

14 years old

Runs away from the group home in Montana

Abducted by Dr. Traylor and held captive for four months

15 years old

Run over by Dr. Traylor, causing his life-long disability

Rescued from Dr. Traylor

Meets Ana

Begins living with the Douglasses

16 years old

Ana passes away

Briefly lives in an emergency shelter

Has a summer job at a bakery

Leaves Philadelphia, and starts his undergraduate study at an unnamed college in Boston

17 years old

Met Andy Contractor

Gifted a model house by Malcolm

18 years old

Began working as a classics professor's amanuensis

Dr. Traylor dies in prison

20 years old

Graduated from his undergraduate study and goes to France for the first time

Began Law School at (presumably) Harvard

Began his Pure Math Master's degree from MIT

Met Harold Stein and Julia Altman

21 years old

Stayed at Harold and Julia's house for the first time and imagined they were his parents

Had an unspecified internship during the summer

Invited to Harold and Julia's summer house, Truro, for the first time

22 years old

Learned to drive (from Harold)

23 years old

Graduated Law School

Graduated Masters at MIT

Began his clerkship in Washington, living in the living room of an unnamed legislative assistant

24 years old

Given keys to the Cambridge house by Julia

25 years old

Moved to New York, living at Malcolm's parents' house

Began working at the U.S Attorney as an assistant prosecutor

Moved out of Malcom's parents' house to Lispenard St

26 years old

Has his first episode in front of Harold, who sings to him

Willem finds out about his cutting

Jumps off a roof with his friends at Lispenard St

27 years old

Broke the mug that Jacob made

Attended Andy's wedding

29 years old

Began tutoring Felix

30 years old

Adopted by Harold and Julia <3

31 years old

First contacted by Lucien after working on case for Thackery Smith

Finalized the contract for a job at Rosen Pritchard, after the elevator broke once more at Lispenard

Contacted by Rob Wilson (Some unknown from the home)

32 years old

Bought his Green Street apartment

35 years old

Became a partner at Rosen Pritchard (the youngest one in the firm's history)

36 years old

Picked out a suit for Malcolm for his wedding that would happen that year

Began the renovations for Greene Street

37 years old

Broke off his friendship with JB after the latter mocks his disability

38 years old

Scolded by Harold out at dinner for working at Rosen Pritchard

40 years old

His former Master's advisor, Dr. Kashen, passes away

Attended his former classmates, Lionel and Sinclair's, wedding

Began dating Caleb Porter

Broke up with Caleb Porter

41 years old

Attempts suicide and is briefly institutionalized

Goes to Morroco

43 years old

Caleb port a potty dies <3

Began dating Willem

45 years old

Has his big fight with Willem and tells him about his childhood

46 years old

Buys a flat in London on Harley Street

The last time he would truly walk on his own. No aides, no prosthetics. This is during a trip to Bhutan

47 years old

Starts getting lots of wounds on his legs and bone infections

48 years old

Gets his legs amputated

49 years old

Starts walking again

50 years old

Set up scholarships for Julia and Harold at their respective universities

Loses both Willem and Malcolm (and Sophie) to a drunk driving accident

51 years old

His loved ones hold an intervention for him

52 years old

Went to Rome

Taught Harold how to cook

Asked to be the chairman of Rosen Pritchard

53 years old

Took his own life :(

If there's anything here you think should be added let me know. And of course this isn't every single thing that happened to Jude, just some main events or events that helped pinpoint the timeline. So if there's a scene/event/anything that you'd like to know the timeline of, let me know (inbox)

[battyaboutbooksreviews]

🌈 Good morning and happy Wednesday, my bookish bats! You didn't think that tiny "queer books coming out this fall" guide was ALL there was, did you? Here are a FEW of the stunning, diverse queer books you can add to your TBR this month. Happy reading!

❤️ A Vision of Air by Nicole Silver 🧡 Eli Over Easy by Phil Stamper 💛 How to Get Over the End of the World by Hal Schrieve 💚 Kween by Vichet Chum 💙 The Forest Demands its Due by Kosoko Jackson 💜 The B-Side of Daniel Garneau by David Kingston Yeh ❤️ Midnight Companion by Kit Barrie 🧡 Let the Waters Roars by Geonn Cannon 💛 Into the Glittering Dark by Kelley York 💙 When the Rain Begins to Burn by A.L. Davidson 💜 Been Outside by Amber Wendler & Shaz Zamore 🌈 The Forest Demands Its Due by Kosoko Jackson

❤️ A Necessary Chaos by Brent Lambert 🧡 The Spells We Cast by Jason June 💛 Pluralities by Avi Silver 💚 Salt the Water by Candice Iloh 💙 Beholder by Ryan La Sala 💜 This Pact is Not Ours by Zachary Sergi ❤️ Dragging Mason County by Curtis Campbell 🧡 Menewood by Nicola Griffith 💛 Mary and the Birth of Frankenstein by Anne Eekhout 💚 The Dead Take the A Train by Cassandra Khaw & Richard Kadrey 💙 Bloom by Delilah S. Dawson 💜 Let Me Out by Emmett Nahil and George Williams

🌈 In the Form of a Question: the Joys and Rewards of a Curious Life by Amy Schneider ❤️ Songs of Irie by Asha Ashanti Bromfield 🧡 A Haunting on the Hill by Elizabeth Hand 💛 Being Ace by Madeline Dyer 💚 Charming Young Man by Eliot Schrefer 💙 The Glass Scientists by S.H. Cotugno 💜 The Fall of Whit Rivera by Crystal Maldonado ❤️ By Any Other Name by Erin Cotter 🧡 Brooms by Jasmine Walls and Teo DuVall 💛 Stars in Your Eyes by Kacen Callender 💚 Shoot the Moon by Isa Arsen 💙 The Bell in the Fog by Lev A.C. Rosen

🌈 Brainwyrms by Alison Rumfitt ❤️ Family Meal by Bryan Washington 🧡 A Murder of Crows by Dharma Kelleher 💛 A Light Most Hateful by Hailey Piper 💚 Love at 350° by Lisa Peers 💙 Greasepaint by Hannah Levene 💜 The Christmas Swap by Talia Samuels ❤️ Mate of Her Own by Elena Abbott 🧡 Mistletoe and Mishigas by M.A. Wardell 💛 Elle Campbell Wins Their Weekend by Ben Kahn 💚 All That Consumes Us by Erica Waters 💙 If You’ll Have Me by Eunnie

❤️ Tomorrow and Tomorrow by Lillah Lawson and Lauren Emily Whalen 🧡 10 Things That Never Happened by Alexis Hall 💛 It’s a Fabulous Life by Kelly Farmer 💚 Let the Dead Bury the Dead by Allison Epstein 💙 These Burning Stars by Bethany Jacobs 💜 The Goth House Experiment by SJ Sindu ❤️ Everything I Learned, I Learned in a Chinese Restaurant by Curtis Chin 🧡 Mudflowers by Aley Waterman 💛 Here Lies Olive by Kate Anderson 💚 Fire From the Sky by Moa Backe Åstot, trans. by Eva Apelqvist 💙 Iris Kelly Doesn’t Date by Ashley Herring Blake 💜 On the Same Page by Haley Cass

❤️ A Dish Best Served Hot by Natalie Caña 🧡 Art of the Chase by Jennifer Giacalone 💛 The Haunting of Adrian Yates by Markus Harwood-Jones 💚 The Sword: Xcian by Elle Arroyo 💙 The Complete Carlisle Series by Roslyn Sinclair 💜 300,000 Kisses by Sean Hewitt and Luke Edward Hall ❤️ Just a Pinch of Magic by Alechia Dow 🧡 Blackouts by Justin Torres 💛 Wrath Becomes Her by Aden Polydoros 💚 Let the Woods Keep Our Bodies by E.M. Roy 💙 Everything Under the Moon: Fairy Tales in a Queerer Light edited by Michael Earp ❤️ Frost Bite by Angela Sylvaine

🧡 We Met in a Bar by Claire Forsythe 💛 Sweat Equity Aurora Rey 💚 Pumpkin Spice by Tagan Shepard 💙 The Misfit Mage & His Dashing Devil by M.N. Bennet 💜 Love and Other Risky Business by Sarah Brenton ❤️ Enough by Kimia Eslah 🧡 A Fire Born of Exile by Aliette de Bodard 💛 Twelve Bones by Rosie Talbot 💚 Wild Wishes and Windswept Kisses by Maya Prasad 💙 Dragged to the Wedding by Andrew Grey 💜 Fox Snare by Yoon Ha Lee ❤️ Murder and Manon by Mia P. Manansala

[john-cardoza]

Water for Elephants - Broadway - March 3, 2024

Gregg Edelman (Mr. Jankowski), Stan Brown (Camel), Wade McCollum (Wade), Joe De Paul (Walter), Sara Gettelfinger (Barbara), Paul Alexander Nolan (August/Charlie), Isabelle McCalla (Marlena/June), Grant Gustin (Jacob Jankowski), Antoine Boissereau, Rachael Boyd, Paul Castree, Taylor Colleton, Isabella Luisa Diaz, Keaton Hentoff-Killian, Nicolas Jelmoni, Caroline Kane, Michael Mendez, Gabriel Olivera De Paula Costa, Samiel Renaud, Marissa Rosen, Charles South, Sean Stack, Matthew Varvar

do not repost

[thejewishguyscompetiton]

The Jewish Guys of All Time!

It's time to meet the competitors, as they have been selected! Polls probably won't be up till after next week as I have finals next week. Reminder that the competitors were selected based on nominations and they can be canonical, headcanon, or coded! Only 2-3 at most from a source and I decided to take some lesser known or talked about ones in the nominations! So now that thats all out of the way!!!

If you have any propaganda for this competition please tag this blog in it and/or use the tag #jewishguyscomp2023

Welcome the contestants!

Barney Guttman (Dead End Paranormal Park)

Cecil Gershwin Palmer (Welcome to Nightvale)

Peter B. Parker (Spiderverse)

Spock (Star Trek)

Moon Knight (Marvel)

Magneto (Marvel)

Benjamin Grimm (Marvel)

Billy Kaplan (Marvel)

Adam Birkholz (Omg Check Please!)

Alter Rosen (The City Beautiful)

Annie Edison (Community)

Isabella Garcia-Shapiro (Phineas and Ferb)

Grunkle Stan (Gravity Falls)

Jake Peralta (Brooklyn 99)

Kronk (The Emperor's New Groove)

Launchpad (Ducktales 2017)

Ragman (Rory Regan) (DC)

Nati (Srugim)

Nadia Vulvokov (Russian Doll)

Yanki (HaSodot)

Avram (The Frisco Kid)

Herschel (Wholly Moses)

Adam F. Goldberg (The Goldbergs)

Coyote Bergstein (Grace and Frankie)

Walter Sobchak (The Big Lebowski)

Eli Moskovitz (Cobra Kai)

Nick Ganz (Mighty Ducks Game Changers)

Worf (Star Trek)

Artie Nielsen (Warehouse 13)

Booster Gold (DC)

 Brucie Kibbutz (Grand Theft Auto IV)

 Buddy Sorrell (The Dick Van Dyke Show)

 The Baudelaires (ASOUE)

Lemony Snicket (ASOUE)

 Mabel and Dipper (Gravity Falls)

Harley Quinn (DC)

Jeremy Heere (Be More Chill)

Tegan Jovanka (Doctor Who)

Muscle Man (Regular Show)

 Schmidt (New Girl)

 Michael Moscowitz (Princess Diaries)

Spike Spiegel (Cowboy Bebop)

 Sonic the Hedgehog (The Sonic Movie)

 Toby Ziegler (The West Wing)

 TK Strand (911 Lone Star)

 Scanlan Shorthalt (Critical Role)

 Patsy (Spamalot)

 Nathaniel Kurtzberg (Miraculous: Tales of Ladybug and Chat Noir)

 Miriam Maisel (The Marvelous Mrs. Maisel)

  Mendel Weisenbachfeld (Falsettos)

 KJ (Paper Girls)

 Libby Stein-Torres (The Ghost and Molly Mcgee)

 Noah Puckerman (Glee)

 Motl (Fiddler on the Roof)

 Otacon (Metal Gear Solid)

 Mabel Rose (Diviners)

 Isidore Latham (Chicago Med)

 Fran Fine (The Nanny)

Jerry Seinfeld (Seinfeld) 

Greg Focker (Meet the Parents)

Davey Jacobs (Newsies)

 Dr. Alan Strauss (The Patient)

Tevye (Fiddler on the Roof)

Little Ash (When the Angels Left the Old Country)

ROUND ONE MASTERPOST

ROUND TWO MASTERPOST

[dwsavideos]

My WATER FOR ELEPHANTS Opinion • The Big Top on Broadway!

Going into this show, I already liked the songs, but I didn’t know the story at all because I haven’t read the book or seen the movie (I just knew there was a circus lol). I went into it fairly blind, and what I saw on that stage for two and a half hours was nothing short of whimsical. I’ve gotta give a review of my experience without giving too much of the plot away- so this is gonna be kind of informal. I’m basically just gonna talk about what I love about this show because it definitely has flaws like any show does, but I genuinely think people are being too hard on this show. It has so much potential, so much insane superhuman talent, and it is so well designed. Just because there aren���t 50 Cirque du Soleil-esque acts or Grammy winning pop songs in it doesn’t make it bad. Not to mention that the original source material was difficult to work with for sure! I think that while this show is far from mainstream, it still has that classic flashy Broadway show vibe- and what a relief that is. I could talk about this show and the talented people in it for ages. My messages and asks are always open, so if you want to share an opinion or experience, or wanna chat about the show, I’m here for it! Okay, time to dive in:

For some background information, Water For Elephants is set in America during the 1930s, (I think 1931) and of course, at a traveling circus called Benzini Brother’s Circus which is in great financial trouble and is definitely not the most spectacular circus during that time. They manage to stay afloat under the management of the ringmaster, August played by Paul Alexander Nolan. Throughout the show, we see signs that the circus performers and workers (Kinkers and Rousts), and the animals are not treated fairly by August.

Jacob Jankowski played by Grant Gustin is a young man on the run from his personal troubles and jumps onto the nearest train, not knowing or caring where it was going. He meets some dodgy characters who reveal themselves as Rousts or circus stagehand workers (Wade being the main, scariest one, played by Wade McCollum). Jacob soon meets an older Roust named Camel, played by Stan Brown. Camel convinces Jacob to stay at least one day. Jacob doesn’t love the idea, and neither does Wade. They come to an agreement and all parties reluctantly decide to work together for one day only. One day turns into a lot longer- and now the fun begins.

The ensemble had great dancers and amazing circus artists (who also all danced). The circus artists in this show are unnamed ensemble characters, so I will call them by their actual names (There were a few swings on the night I saw the show): Antoine Boissereau, Gabriel Olivera, Isabella Diaz, Keaton Hentoff-Killian, Nicolas Jelmoni, Harley McLeish, Sam Renaud, and Alex Royer.

The ensemble of dancers who play Kinkers and Rousts were: Brandon Block, Paul Castree, Caroline Kane, Marissa Rosen, Charles South, Sean Stack, Matthew Varvar, and Michelle West.

The understudies and swings who were on as leads and featured characters for this performance were: Samantha Gershman as Marlena, Taylor Colleton as Barbara, and Michael Mendez as Walter. The ensemble and circus swings were Brandon Block, Michelle West, and Harley McLeish. As usual, Gregg Edelman played Mr. Jankowski. Almost every single one of these performers was a puppeteer at some point in the show.

The great circus stunts start right off the bat in the second number “The Road Don’t Make You Young” when the cast sets up the big top tent. Needless to say, their Tony Performance of this song does not do this cast justice at all. Seeing this live was awesome. Especially Gabriel Olivera, Isabella Diaz, Keaton Hentoff-Killian, and Alex Royer doing impressive (and kinda scary) tricks on the Chinese Pole and then also singing and dancing with the rest of the company like it was nothing. The number also included many hand to hand tricks where Alex and Isabella were thrown and flipped and caught by their porters. They made it look effortless. Some other big circus numbers were “The Lion Has Got No Teeth”, “The Grand Spec”, and “Zostań”. In the span of these numbers, there were flips, hand to hand tricks, aerial acrobatics, juggling, Chinese pole, Cyr wheel, hula hoops, and more! There were even several quick scenes that was just a few circus performs on stage doing their thing!

Also, I have to say that Grant Gustin was great! He has a great voice and he portrayed Jacob brilliantly considering his character is pretty bland. Paul Alexander Nolan stole the show as many good villains tend to do. Samantha Gershman didn’t miss a beat as Marlena, and her voice was stunning! Wade McCollum as Wade was one of my favorite performances as far as acting goes (plus he has one hell of a voice). And the ensemble of both the dancers and circus performers were out of this world. The choreography was so fun to watch and the way it was mixed perfectly with the circus tricks had me on the edge of my seat every time there was a big group number.

My favorite three moments in the show:

3: The Stampede: For a show with lots of fun tricks, colorful costumes, and flashy numbers, things got pretty dark towards the end. I won’t get into the really dark part, but one scene near the end that was really well done was a scene without any singing or dancing- the Stampede. This scene was staged incredibly, and it was very haunting. The cast turned into puppeteers and their movements along with the lighting design, sound design, and Gregg Edelman’s narration caused it to be impossible to even blink during this scene. In particular, Caroline Kane did a fantastic job portraying Rosie the Elephant for this scene and throughout the show. She was one of the six people who puppeteered Rosie. Caroline controlled Rosie’s trunk and also conveyed Rosie’s emotions with her facial expressions. At times, she was the sole person responsible for making us believe there was an elephant on stage- and she was brilliant. She portrayed Rosie’s joy, pain, fear, and anger so so well!

2: The Dream/“Go Home”: This moment was before the stampede scene, and it was so cool to watch. Once again, the lighting design and staging was very well done, and Grant Gustin was excellent in this scene as he grappled with his inner thoughts. In Theatre, a dream sequence scene could sometimes be corny, but this one was necessary. Another very haunting moment in the show, this dream sequence came at a pivotal time in the plot, and gave us a deeper look into Jacob’s mind, along with a major choice that he had to make. The beginning of the scene was like something out of the 2013 Pippin revival, with the circus performers nightmarishly taunting Jacob on a dimly lit stage. August made an appearance too, also taunting Jacob- who’s conscience was trying to tell him to murder August. During this dream, the circus performers become an ensemble of Jacob’s fears and desires. They do daring stunts, walking and sliding backwards on tightropes, twirl in aerial hoops, two performers juggle knives- tossing them back and forth while Jacob stands still in between them. Jacob grabs a knife from midair and contemplates if he should use it. August cracks his whip at the lion, puppeteered by Gabriel. Soon Marlena and Rosie appear in Jacob’s dream as his only two comforting companions. During this nightmare, things start to get real for Jacob. The opening guitar of “Go Home” begins, and Jacob stands by and watches helplessly as his parents parish in a car accident. The way this car accident is staged is not loud or gruesome, but kind of peaceful- maybe since Jacob didn’t witness it when it happened, it’s how he imagined it or hoped it was like. There is no car at all, but it was easy to tell what’s happening due to the blocking and great choreography. Jacob’s parents are portrayed by Keaton and Alex- Keaton pretends to hold on to the wheel until blaring headlights flash in their faces and disaster strikes in slow motion. The other circus performers are assembled behind Jacob’s parents, staged as if they’re pushing them into their demise. After impact, Keaton and Alex are physically pulled out from that reality by the others, and back into the circus troupe. The movement and choreography in this scene is what carries the story as Jacob sings the song “Go Home”. The song ends with the ensemble softly singing “there’s nothing you won’t do/there’s nothing you can do” over and over as Jacob holds a knife, hovered over a sleeping August. The song ends with the characters back in reality. All in all, this scene was a great mesh of musical theatre, physical theatre, and circus.

1: “Easy”: When Jacob and the audience first meets Marlena. Here, she’s caring for her beloved injured horse Silver Star, puppeteered by two circus performers Antoine and Keaton. The horse puppet timidly approaches Marlena, limping. As Keaton left the scene, Antoine smoothly handed off the Silver Star puppet (head) to Marlena, who sang as she simultaneously soothed and controlled the horse’s head while it rested on her lap in pain. Then Antoine’s aerial silk act began. It was an outstanding and elegant thing to watch. He perfectly portrayed the spirit of Silver Star longing to be healthy and free. He swung over the audience in an aerial dance, and at one point, he swung out as the silks held him by his neck. His skills during that beautiful routine along with the emotional song that Samantha Gershman sang perfectly was a highlight for sure. Antoine was a standout circus artist and dancer, and was really fun to watch the whole show. If you haven’t gotten the chance, listen to “Easy” on the cast recording- it’s the best song in the album.

Some details I enjoyed:

One of the things I noticed while reading the playbill was the amount of Non-Binary performers in this show! There are five NB performers in W4E. (Let me know of you want to know who they are, because I don’t necessarily name drop here). Interestingly I noticed that every costume that one of the female presenting NB performers wore could be considered gender-neutral such as pants and overalls which looked just like the outfits the men and male presenting cast members wore in the show. I just thought that it was a nice touch that one of the NB performers got to wear gender-neutral costumes in a show that takes place in an era when those who were female presenting rarely wore pants or overalls (especially as a performer). Even the leotard they wore in circus scenes was the same as the male presenting circus performers! I’d love to think that this was a conscious choice by the costume designer and director to put the cast in costumes that they are comfortable in regardless of gender.

Every puppet was so intricate and beautifully designed. I sat fairly close but not too close, and I was able to see so many details of the puppets. They were so colorful, lively, and still so different from puppets in shows like the Lion King or Frozen. But like the Lion King, the actors controlling the puppets are very much included in the puppet’s identity. Their facial expressions and physical movements of their entire body, and even their costume colors play a huge part in each animal’s portrayal. However, in Lion King, many of the puppets are more costume than puppet. In W4E, the only animal that is worn as a costume is an Orangutan played by Alex. Overall, I think this was such a cool and original take on animal puppets on stage.

References to other songs in “Go Home” lyrics: Listening to the cast recording over and over, I realized that there are many melodic and lyrical references to other key songs in “Go Home” which I guess can be considered as the 11 o’clock number of W4E. In the song, there are melodic and lyrical references to the following songs: “Anywhere”, “Easy”, and “What Do You Do?” (GO LISTEN!!) I just love when songs that aren’t a Reprise have references to other songs in musicals. It’s very classic Broadway and great storytelling!

Personally, I loved Water For Elephants! The circus parts were the most fun to watch, and everyone in the cast was so amazing and seemed to be super tight-knit. You’re not going to W4E to delve into some deep subject in a contemporary musical and leave with a bitter sweet feeling and a great message, but does every new musical have to be like that nowadays?? I definitely recommend this show, especially for families or people who love the circus, puppets, or depression-era shows! Water for Elephants is a whimsical spectacle with so many fun moments. I think Broadway needs more of that.

If you’re still here, thank you for reading this entire thing lol!

[comicavalcade]

Submariner Summer 34

Ay Namor Nation, this is a big one! #SubmarinerSummer part 34, and we are doing one of THE comics of all time, Tales To Astonish #100: Let There Be Battle! After sharing the title for dozens of issues, we finally get the Astonish crossover of Namor vs. Hulk. Behold the cover!

Stan Lee is scribing this one himself, and lets us know our sense will be shattered. The great Marie Severin on pencils and Adkins on inks, Sam Rosen lettering. Title page has our Prince contemplating Hulk as he falls into a predicament, thinking of making him an ally

Namor recaps his predicament, being banished from his people after being falsely believed a traitor (thanks to Plunderer, and a shitty screen). But since he's matchless in the sea, and Hulk is Strongest One There Is (on land), and they're both outcasts...well, the logic is clear

So off Namor goes to make an ally and make the surface pay. Things go smoothly right away (/s), as the second he surfaces, someone shoots at him. 'Merica. Turns out, old foe the Puppet Master was in the middle of a heist, and now Namor has spoiled it.

This throws Puppet Master into a rage, but he soon stumbles on an idea...since he can't strike at Namor directly, how about using *Hulk* against Namor? So, one radioactive puppet later, Hulk bursts out and is sent to destroy Namor! Namor's plan of alliance is now sunk

From here? Its game on, as Namor and Hulk descend into all out battle on Miami beach. Let me tell you, if you're unfamiliar with Marie Severin, she is absolutely one of the Silver Age great artists. This woman was highly underrated, and this ish a shining example

Excuse me if I gush, but the scenes deftly show the two fighters' power, their figures bold yet fluid with the motion in the panels easy to follow. And there's plenty of motion as Namor seeks to take the battle to the air, then the water, and Hulk accidentally obliges

The oceanic recharge brings Namor careening back; IMPERIUS REX! A quick dip in a pool gives Namor a clear advantage but ends with a Hulk leap.

I'm just giving some highlights of the tussle, btw, there's a LOT of action packed into this 22-pager The military's called in, though they don't actually do anything as the titans clash; love how often Hulk or Namor burst out of the panels in this issue, too powerful to contain

And in one excellent page we get the obligatory moment to remind, Namor has his own code, his own honor, and foreign though it may be at any moment in the midst of destruction he might just come and save any or all of us; that's just how he rolls

Namor finally maneuvers Hulk into the sea, and from there...well, Hulk continually loses ground 😁

Hulk is also getting sick of the voice of the Puppet Master in his head and that isn't helping either, a distraction that isn't even properly feeding his anger

Namor launches a colossal assault using his speed and strength to toss Hulk around helplessly; that's right, mi gente, we have reached the "going in circles for the win" stage of Silver Age fights

And, this also spells doom for Puppet Master, as the giant waves wash his whole hideout away; double L for Puppet Master, double W for Namor, who doesn't even *know* he's defeated Puppet Master along with the Hulk

And yes, the fight is finally over; the last relentless assault has left Hulk washed up, and only Bruce Banner remains, unconscious on the sand. Namor doesn't know from Bruce Banner, though, and so confused he wanders back to the sea. So much for his plans for alliance against the surface

You all might have guess that I love this issue, so I am in no way impartial. But listen, this is peak superhero action. Nay, peak heroic epics: its Herakles vs Triton, Gilgamesh vs Enkidu, Jacob vs the Angel, Krishna vs Chanura. Lee and Severin were both firing on all cylinders

If you agree, feel free to let me know; if you don't, drop a line as well and let me where you think it falls short. We're about to come to a great transition for Namor (and Marvel) so things are about to shift, and I'm interested in where we're all at on Tales to Astonish

But we're not *quite* there yet, although we are at the beginning of something new, so NEXT we cover Tales to Astonish #101: ...And Evil Shall Beckon!

[bestmusicalworldcup]

Full casting has been announced for Water for Elephants, a $25 million dollar musical coming to Broadway.

Starring in the production is Grant Gustin as Jacob Jankowski, and Isabelle McCalla as Marlena. The cast also features Gregg Edelman as Mr. Jankowski, Paul Alexander Nolan as August, Stan Brown as Camel, Joe De Paul as Walter, Sara Gettelfinger as Barbara, and Wade McCollum as Wade.

Newly announced for the musical's company are Brandon Block, Antoine Boissereau, Rachael Boyd, Paul Castree, Ken Wulf Clark, Taylor Colleton, Gabriel Olivera de Paula Costa, Isabella Luisa Diaz, Samantha Gershman, Keaton Hentoff-Killian, Nicolas Jelmoni, Caroline Kane, Harley Ross Beckwith McLeish, Michael Mendez, Samuel Renaud, Marissa Rosen, Alexandra Gaelle Royer, Asa Somers, Charles South, Sean Stack, Matthew Varvar, and Michelle West.

Water for Elephants features a book by Rick Elice and music and lyrics by PigPen Theatre Co. Previews begin February 24, 2024 at the Imperial Theatre on Broadway, with opening night set for March 21.

[loveisbraveandwild]

2023 books (check out my storygraph for reviews)

january

unbought and unbossed, shirley chisholm

true biz, sara nović

yerba buena, nina lacour

the racism of people who love you, samira mehta

night, elie wiesel

seven says in june, tia williams

the reading list, sara nisha adams

finna, nino cipri

ace, angela chen

nightcrawling, leila mottley

the light we carry, michelle obama

how to resist amazon and why, danny caine

the daughter of auschwitz, tova friedman

kaikeyi, vaishnsvi patel

just as you are, camille kellogg

hijab butch blues, lamya h

february

a guide to just being friends, sophie sullivan

mean baby, selma blair

lavender house, lev ac rosen

loveless, alice oseman

the department of rare books and special collections, eva jurczyk

small game, blair braverman

wash day diaries, jamila rowser

the heartstopper yearbook, alice oseman

yellowface, r.f. kuang

stay true, hua hsu

the school for good mothers, jassamine chan

elatsoe, darcie little badger

under the udala tree, chinelo okparanta

there there, tommy orange

making a scene, constance wu

happy place, emily henry

i have a question for you, rebecca makkai

finding me, viola davis

wow, no thank you, samantha irby

march

lark and kasim start a revolution, kacen callender

mooncakes, suzanne walker

lies we sing to the sea, sarah underwood

the family outing, jessi hempel

dead collections, isaac fellman

ace voices, eris young

the anthropocene review, john green

mad honey, jennifer finney boylan & jody picoult

all my rage, sabaa tahir

hello, molly, molly shannon

fine, rhea ewing

nevada, imogen binnie

super late bloomer, julia kaye

love & other disasters, anita kelly

the boy with a bird in his chest, emme lund

the honeys, ryan lansala

the 57 bus, dashka slater

making love with the land, joshua whitehead

a history of my brief body, billy-ray belcourt

there are trans people here, h. melt

patricia wants to cuddle, samantha allen

babel, r.f. kuang

april

lessons in chemistry, bonnie garmus

ace of spaces, faridah abike-,ymide

the things we do to our friends, heather darwent

deaf utopia, nyle dimarco

black cake, charmaine wilkerson

simon vs. the homo sapiens agenda, becky albertalli

the things we couldn't say, jay cole

long black veil, jennifer finney boylan

good talk, mira jacobs

remarkably bright creatures, shelby van pelt

[thegrimalldis]

Rosen and Selene cursing Helene for getting a Moretti back on the throne. This also makes me wonder why Leonora wasn't raised by Jacob's parents after he and Ingrid's deaths?

OMG!! All that trouble they went through stealing the crown and keeping it out of the Morettis grasp! Helene just handed it over! 🤧

sfkjsfkj I'm kidding! Helene is innocent!

And I did say that Ingrid and Jacob left no will so Maximilian III as her godfather was the one tasked with making the decisions involving Leonora. He ultimately decided that she would live with William, instead of her other grandparents. Leonora was second-in-line to the throne at the time and he knew of the Moretti's past history with his mother.

Leonora did see her other grandparents growing up, but they had no say in her upbringing 🤧

[444names]

scandinavian names + american and german forenames

Aabel Aagar Aandt Abill Ablund Acreyr Adogren Aeva Agne Albren Alin Alla Almfrit Alvar Amunda Anfina Ansgard Arilla Arnade Arnka Arnot Artina Arvi Arwig Asgar Ashorn Asmund Astr Atlesen Audbjörk Audni Auth Aðalster Bald Ball Bast Basteind Beate Becca Bekke Beng Bengsen Bentz Bergh Bert Berthe Berthr Bertjof Bertson Bessen Birgh Birke Bjarna Bjerg Bjoe Bjorgen Blegerdr Bogene Bony Borkeby Boroline Bost Bred Brekt Breth Breve Brie Brielson Brik Bryndin Calvi Camily Camineta Carlstad Cassen Chele Chris Chriskar Christ Claud Claug Coranca Corieder Curtine Dagberg Dagman Danie Dary Daryan Deleah Dellst Dian Didrich Dolborge Dolph Dore Doren Dori Dottsson Earls Edmar Edwig Egel Eirid Eithildr Ekvaldr Elia Ellian Ellin Ellison Elstremy Elvirger Emelby Emilla Emilynur Emme Englan Enstracy Erica Eritt Erlen Erlin Erman Ermine Eskelle Eskilli Estur Eunild Evans Evar Evard Eystrom Filippa Finsson Flore Floren Florene Fold Ford Forsen Frand Frit Fritsen Fulker Gabrian Gabrith Gens Gerdi Gierson Ginn Gonner Greg Gren Gudman Gudricky Gudro Gund Gunilde Gunna Gunneth Gust Gustad Gustan Gutto Guðjon Göranch Haala Hage Halbria Halmberg Halve Hann Hannove Hara Hegstrom Heido Hein Heith Helen Helger Helgrete Hellson Helma Helmin Henne Hennie Herlen Herma Hermaine Heth Hild Hildrin Hildson Hillias Holmluna Holstad Hrun Hunthony Hyerd Hylda Ingerdr Ingja Ingmari Ingvild Jacob Jacque Jamilo Janesen Jarlberg Jena Joanner Johann Johannet Johannie Johnni Jonsen Jonssen Jose Josen Juane Kardis Karius Karolaf Katrid Katrín Kender Kittlest Kjeldr Kjellie Klaug Korend Kris Krist Kristi Kronda Kronnie Kyler Kylerina Kysten Laer Lage Lambert Lando Larstina Leka Leonatal Lient Lindborg Lindis Lindo Line Lisby Liskette Lode Loree Lovia Lovis Lundsen Manssen Marcelie Marilyn Marilyne Marin Marta Martina Matha Mathi Mattir Medal Megare Melie Melin Merek Metten Mich Mine Minn Mollene Mone Monicolt Morkman Morte Nanne Neil Neilson Nice Nicolan Niel Nilsea Niva Njorg Norbjorn Norder Nordi Nordo Norlidi Nygar Oakenson Olene Ollert Ollice Orance Oscarry Otheleah Otherea Othy Ottosse Overa Patt Pede Pederly Perner Peterwig Phild Phylling Prister Pristeve Pustian Ragne Ragnús Ramberg Ramonly Rasminar Reid Rhond Rich Ringren Rithr Roberg Rosally Rose Rosen Rost Rudo Rustie Rúnard Sand Sander Saralp Seansson Seas Sebonya Selin Selleroy Selmedar Seven Sevenson Sheil Sheleah Sheritta Shersen Shora Sigefrid Sinn Sissen Siversen Sjody Sjold Sjurhuus Skaas Skadhaug Skjalte Skjolf Snaeva Snar Snofritt Soling Sorence Sten Storlen Stram Streen Sude Sundsen Sungrene Svensen Sverson Sylvig Tabin Tamie Tanborg Tedt Terra Ther Thew Thorela Thorian Thorlin Thorm Thorn Thorsson Thorum Throna Tobin Torberg Torgeni Torke Torken Tranz Tren Turik Turith Tycholge Tyrbjörg Tyrvid Unnun Utney Utte Vadet Valde Valte Vand Vanhvit Vermak Vetles Victordi Vira Vithryn Vithur Völund Völundin Walbert Wallcup Wence Wench Westahl Westhir Wideborg Widem Widhugh Wilmarl Wiltrud Wulla Yggenson Ylways Yngve Árnar Åradley Órarren Óska

[macwantspeace]

Good on CBS Jacob Rosen. He put the JD Vance fictions, and then put the truth. This is the hillbilly doing one of those nifty photo ops. Oh, look, it's the border. This here quarter mile of wall. Saying they have now inspected the border and know everything. The border is 1950 miles. > "It's hard to believe, until you see it with your own eyes, just how bad the policies of the Kamala Harris administration have been when it comes to the southern border," Vance said, not mentioning President Biden and focusing his criticism on the new presumptive Democratic nominee. > The visit comes as the number of unlawful migrant crossings along the U.S. southern border has continued to fall, dropping for the fifth consecutive month in July and reaching the lowest level since the fall of 2020. > "No, I don't think they are. And when the Harris administration says the border crossings have dropped, she's not counting a lot of the people" who are arriving through legal ports of entry, Vance said. "And so actually, if you combine everything together, the number of people who are coming across our border illegally is still really at all-time highs." > Republicans often accuse the administration of playing a "shell game" by admitting migrants at ports of entry, diverting them from crossing illegally. But entering at a port of entry is not illegal, contrary to what Vance suggested, and the number of crossings has still decreased significantly when illegal crossings and admissions at ports of entry are grouped together. Oh, boy. Then JD blamed his mother's addiction to prescription meds thirty years ago as the fault of Harris. That was combined with the usual scary fentanyl claim.

[ulkaralakbarova]

Carla Moran, a hard-working single mother, is raped in her bedroom by someone — or something — that she cannot see. Despite skeptical psychiatrists, she is repeatedly attacked by this invisible force. Could this be a case of hysteria or something more horrific? Credits: TheMovieDb. Film Cast: Carla Moran: Barbara Hershey Phil Sneiderman: Ron Silver Billy: David Labiosa Dr. Weber: George Coe Cindy Nash: Margaret Blye Dr. Cooley: Jacqueline Brookes Gene Kraft: Richard Brestoff George Nash: Michael Alldredge Joe Mehan: Raymond Singer Julie: Natasha Ryan Kim: Melanie Gaffin Jerry Anderson: Alex Rocco Mr. Reisz: Sully Boyar Woody Browne: Tom Stern Dr. Walcott: Allan Rich Film Crew: Director: Sidney J. Furie Screenplay: Frank De Felitta Producer: Harold Schneider Casting: Barbara Claman Editor: Frank J. Urioste Production Design: Charles Rosen Set Decoration: Jerry Wunderlich Hairstylist: Christine Lee Makeup Artist: Zoltan Elek Construction Coordinator: Bruce J. Gfeller Leadman: Nigel A. Boucher Set Designer: Daniel Gluck Set Designer: Boyd Willat Sound Effects Editor: Keith Stafford Sound Re-Recording Mixer: Gregg Landaker Sound Re-Recording Mixer: Steve Maslow Sound Re-Recording Mixer: Bill Varney Stunt Coordinator: Chris Howell Camera Operator: Joe R. Marquette Jr. Still Photographer: John R. Hamilton Gaffer: Jon Timothy Evans Costume Supervisor: Nancy McArdle Music Editor: Ken Wilhoit Script Supervisor: H. Bud Otto Studio Teachers: Arlene Singer-Gross Unit Publicist: Lyla Foggia Location Manager: Robert Eggenweiler Original Music Composer: Charles Bernstein Director of Photography: Stephen H. Burum Executive Producer: Michael Leone Executive Producer: Andrew Pfeffer Stand In: Marcia Karr Property Master: Barry Bedig Sound Mixer: Willie D. Burton Special Effects Makeup Artist: James Kagel Special Effects Makeup Artist: Stan Winston Production Manager: David Salven Second Assistant Director: William Cosentino Assistant Property Master: Gene Anderson Leadman: Frank L. Brown Construction Foreman: Richard Eckols Painter: Anthony ‘AJ’ Leonardi Jr. Paint Coordinator: John Tyrrell Propmaker: Mark Sparks Cableman: Robert W. Harris Boom Operator: Marvin E. Lewis Special Effects: Martin Bresin Special Effects: Joe Digaetano Special Effects: Joe Lombardi Special Effects: Steve Lombardi Special Effects: Gary Monak Special Effects: Robert G. Willard Special Effects Makeup Artist: Jill Rockow Visual Effects Designer: William Cruse Visual Effects Camera: Sam DiMaggio Visual Effects Production Assistant: Margaret Goldsmith Visual Effects Production Assistant: Julie Kelly Visual Effects Production Assistant: Kim Waugh Stunts: John Ashby Stunts: Janet Brady Stunts: Ron Burke Stunts: William H. Burton Sr. Stunts: Eddy Donno Stunts: Kenny Endoso Stunts: Donna Garrett Stunts: Buddy Joe Hooker Stunts: Shawn Howell Stunts: Tommy J. Huff Stunts: Linda Jacobs Stunts: Gary McLarty Stunts: Ernie F. Orsatti Stunts: Harry Wowchuk Grip: Leon Ayres Grip: Ben Beaird First Assistant Director: Tommy Thompson Movie Reviews: John Chard: Very up and down in its telling of an horrendous story. This is the loosely based on facts story of Carla Moran, a woman who was allegedly tormented and sexually molested by an invisible demon. Regardless of if the facts of the case are fictionalised for impact, or if indeed there is any basis of truth to the attacks in question, The Entity as a film fails to rise above average due to sloppy direction and a very poor script, whilst the score from Charles Bernstein is akin to being hit over the head repeatedly with a blunt instrument. That said, the film isn’t a total wash out, there are genuine moments of dread in the piece, and most of the tension and fear is realised from a very credible performance from Barbara Hershey as Carla. The nature of the beast with this type of picture will always be open to either scoffing or a fear of the unknown, so to get the audience involved with a topic like this you really need your protagonist to be believable, Hershey manages to do this in spite of the character bei...