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the-rewatch-rewind · 1 year ago

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Here we go again, we're changing the scene.

Script below the break.

Hello and welcome back to The Rewatch Rewind! My name is Jane and this is the podcast where I count down my top 40 most frequently rewatched movies in a 20-year period. Today I will be discussing number six on my list: Shipwrecked Comedy and American Black Market’s 2017 film noir parody The Case of the Gilded Lily, directed by William J. Stribling, written by Sean Persaud and Sinéad Persaud, and starring Sean Persaud, Sinéad Persaud, Sarah Grace Hart, and Mary Kate Wiles.

It's 1939 in Los Angeles. Hardboiled private eye Ford Phillips (Sean Persaud) doesn’t touch Hollywood cases, until junior ace reporter Fig Wineshine (Sinéad Persaud) convinces him to help her childhood friend, starlet Wilhelmina Vanderjetski (Sarah Grace Hart) find out who is blackmailing her.

In my episode about Edgar Allan Poe’s Murder Mystery Dinner Party, which was number 13 on this list, I discussed how I found and fell in love with the work of Shipwrecked Comedy. If you haven’t listened to or don’t remember that episode, to summarize, I had incredibly high expectations for Edgar Allan Poe’s Murder Mystery Dinner Party, aka Poe Party, that were exceeded in every possible way, and in joining this small but enthusiastic fandom, I finally felt that I had found my people. I was very excited to learn what Shipwrecked’s next project would be, and I didn’t have long to wait. On May 30, 2017, just under seven months after the Poe Party finale, they shared a teaser poster for The Case of the Gilded Lily, which showed silhouettes of the Core Four (Sarah Grace Hart, Sinéad Persaud, Sean Persaud, and Mary Kate Wiles) in a style consistent with film noir. Since one of my favorite things about Poe Party had been the way it reminded me of classic movies, I was ecstatic to see them leaning even more directly into Old Hollywood.

The Kickstarter campaign launched a week later. Unlike Poe Party, which was an 11-episode series, Gilded Lily would be a short film, and they were only asking for $25,000. It didn’t even occur to me to be disappointed that this was going to be so much smaller; I was just excited that Shipwrecked was making another project so soon. In some ways, this Kickstarter experience was similar to the Poe Party one – the fun livestreams with backers’ names on the wall, the character reveals when milestones were reached – but in others, it was very different. For one thing, I had by this point met Shipwrecked and gotten to know many of their other fans, so instead of interacting with a bunch of pleasant strangers, these livestreams felt more like hanging out with friends. And for another, they reached their goal in less than a week, whereas Poe Party had taken almost a month, so it felt a lot less stressful, at least from a will-this-get-to-exist? perspective. They set a few stretch goals and ended up raising just over $43,000 by the time the campaign ended on June 25. I pledged a bit more to this project than I had to Poe Party, partly because I felt like I owed them for how much Poe Party had already changed my life, but also of course because of how thrilled I was that they were making something else that was related to my interests.

The main reason they were making Gilded Lily right then was because they had been invited to premiere a new project at Buffer Festival in Toronto, where they had screened all of Poe Party the year before when only the first 9 episodes were up on YouTube. I would have loved to have gone, both to see Poe Party and to see Gilded Lily, but it didn’t work out. However, Kickstarter backers at the $25 level and up would get access to watch The Case of the Gilded Lily soon after Buffer, before it was posted publicly, and that was good enough for me. Buffer Festival was only about three months after the Kickstarter ended, so Shipwrecked had a ridiculously short period of time to complete this video that they had originally intended to be about 20 minutes long but ended up with a runtime nearly twice that. I still don’t understand how they did it. I know, from talking to members of Shipwrecked at the time and from behind-the-scenes content they’ve released, that they were incredibly stressed about things like finding and locking locations, a cast member having to drop out last minute, and, of course, the budget, but still, they managed it. They successfully premiered their 38-minute long “short” film at Buffer Festival 2017 and emailed a link to backers a couple weeks later, on October 12.

I had a lot of trouble setting my expectations for The Case of the Gilded Lily. This group had just made Poe Party, so I knew they were capable of greatness, but I also knew I had no right to expect this to be on the same level as that, since it was always intended to be a much smaller project. I was sure I was going to enjoy it, but I was very curious to see how much. The first thing that struck me after I clicked the early access link was the music. The soundtrack was composed by Dylan Glatthorn, who had also composed the Poe Party soundtrack, which I absolutely should have mentioned in that episode because it is incredible. But the Gilded Lily soundtrack is somehow even better. Shipwrecked had released a video of a song from the short called “A Change of Scene” in September, written by Glatthorn and performed by Mary Kate Wiles as lounge singer Vivian Nightingale (a name that had been mentioned in Poe Party), so I already knew that was a bop, but it didn’t prepare me for how hard the opening credits music would slap. The theme is so delightfully jazzy that even after nearly six years, I can’t sit still when I hear it. That music over the black and white shots of the Hollywoodland sign and palm trees was the perfect way to set the scene. And then the opening credits finished and the film itself began.

So here’s the thing about film noir. In general, I enjoy it: I think it’s a fascinating filmmaking style and a very effective technique to tell a certain type of story, and two of my other top 40 most frequently rewatched films – Notorious and Gaslight – are fairly noir-esque, but also, film noir can get very dark. Every November, along with many film lovers on the internet, I celebrate Noirvember, a time to watch and appreciate film noir. In 2015, I actually managed to watch 30 noirs in Noirvember, and by the end of the month I noticed that it was really getting to me. I was starting to feel a constant vague sense of unease, dread, and despair. So in every November since then I’ve forced myself to consume noirs somewhat more moderately. I must have known that Gilded Lily was going to be more of a parody and not like one of the darker noirs. The group was called Shipwrecked Comedy, after all. But even Poe Party had had some pretty dark moments. I’m sure I expected jokes in The Case of the Gilded Lily, but I was utterly floored by just how laugh-out-loud funny the whole darn film was. It wasn’t dark at all, at least compared to most noirs or even to Poe Party. There wasn’t even any murder! The first time I watched it, I must have missed at least half the jokes because I was still laughing at prior gags. The plot was just as complicated and twisty as most noirs, but that first time I was barely paying attention because, again, too much laughing. Therefore, once I finished it, I naturally had to immediately rewatch it several times to pick up on the jokes and plot points I’d missed, and I was delighted but not at all surprised to find that it held up very well. I don’t recall exactly how many times I’d seen it before the link was made public on December 11, but by the end of 2017 I’d watched it nine times. I then watched it four times in 2018, six times in 2019, five times in 2020, three times in 2021, and four times in 2022. And I still think the jokes are funny. So if you haven’t watched it, you absolutely should, it’s still available for free on YouTube (link in the show notes) and it’s like the length of one episode of a TV show.

There are so many different types of humor in this film, and all of them are great. There’s the whole playing with and making fun of noir tropes aspect, including several instances of characters interrupting each other’s voiceovers, a camera rotation into a Dutch angle causing Ford to fall over, and Wilhelmina trying to smoke and drink to fit in but not quite understanding the concept. That last one serves the dual purpose of making fun of the excessive smoking and drinking common in noirs and further developing one of my favorite types of character: the confidently clueless. The Case of the Gilded Lily has two of these: Wilhelmina Vanderjetski, the starlet who’s being blackmailed, played by Sarah Grace Hart, and Dash Gunfire, Ford’s rival private eye, played by Joey Richter. Wilhelmina’s cluelessness mostly makes her happy and charming, whereas Dash’s makes him frustrated and annoying, and it’s very entertaining to see two such similar yet very different characters in the same project. Basically everything either of them says or does makes me laugh. There’s also some great physical comedy, mainly from Clayton Farris as the disgruntled Buster Keaton. Similarly, there’s humor with the set and props, like when Cliff Calloway (played by Tom DeTrinis) switches between smoking a cigar and a cigarette in the same scene depending on who he’s talking to, and when Officer Claudette Knickerbocker (played by Joanna Sotomura) is talking to Ford on the phone about how hot she finds Cliff, and it cuts away to Ford putting down the phone and pouring himself a drink and when we see Claudette again her office is in complete disarray. And then there are all the hilarious running gags. Like how whenever someone brings up that Wilhelmina’s real name is Lily THomas, Ford has to argue that it should be pronounced Thomas. And how every time the scene changes after Vivian sings “A Change of Scene” the first time, there’s a little reprise of her singing about how we’re changing the scene. And the way Fig is obsessed with cookies and keeps getting them – I am truly in awe of Sinéad Persaud’s brilliance in writing a character for herself that required her to eat lots of cookies. What an iconic move. And then there’s the running bit where Ford will pause and stare into the distance dramatically before mentioning The War, much to Fig’s confusion, until it’s finally revealed that The War was a movie he and Claudette acted in when they were children. Another running bit is the bartender Bixby Crane (played by Dante Swain) repeatedly saying his own name unnecessarily, and taking things very literally in unexpected ways. This bit was particularly funny to me because my high school band director’s name was Parker Bixby, and when we marched in the Tournament of Roses parade, one of the announcers commented, “I want to change my name to Parker Bixby.” Later somebody put that on t-shirts and Mr. Bixby ended up with one. So seeing a character named Bixby who was obsessed with his own name made me laugh even harder than it would have if they’d picked any other name for that character.

Like in Poe Party, the actors in The Case of the Gilded Lily were encouraged to play around, at least as much as their limited production time would allow, which once again resulted in an excellent blooper reel, and also some great moments in the film. One of the best is when Wilhelmina’s husband, producer Roger Haircremé, played by Gabe Greenspan, comes into the lobby from the Sufferin’ Safari premiere and says, “Sweetheart, it’s nearly giraffe time!” which was improvised. Also, major shout out to the Persauds for their incredible character names, and also to Gabe Greenspan, who filled in last minute when the original Roger had to drop out of the project. It’s kind of mind boggling that this was the first time Gabe worked with Shipwrecked and that he almost wasn’t even in this, since it’s hard to imagine their more recent projects without him. Another unscripted moment that I love is when Vivian is telling Fig about an underground gambling ring and says that they meet on Wednesday nights, adding, “Tonight. And next Wednesday. And the Wednesday after that…” That last part wasn’t in the script, but they brought it back again when Fig passes this information on to Claudette, saying, “Vivian only knew they meet tonight. And then next week. And the week after that. Basically, it’s a weekly thing.” And Joanna, not really knowing how to respond to that, just had Claudette go, “Oh, okay” and move on with her lines, and for some reason that just really tickles me.

I think the thing I appreciated the most about The Case of the Gilded Lily, once I stopped laughing long enough to analyze it, was that it felt like a typical Shipwrecked project while also feeling completely different from what they’d done before. The sense of humor felt the same as Poe Party, even though the Gilded Lily gags tended to be on the sillier side. The story was just as well thought out as Poe Party’s, but while Poe Party was being released I was constantly trying to figure out who the murderer was, whereas with Gilded Lily I didn’t even attempt to guess who the blackmailer was, I was too busy laughing. Also, being a short film rather than a series released over 11 weeks, there was much less time for speculation. Of course, the overlapping cast made the projects feel similar, and I particularly enjoyed seeing Ryan W. Garcia, who had played Eddie in Poe Party, show up as an extra in about half the Gilded Lily scenes. This ultimately inspired me to write a rather long and intense fan fiction tying a bunch of Shipwrecked projects together with the time traveling ghost of Eddie. Tom DeTrinis’s Cliff Calloway seemed about what you’d expect if Oscar Wilde was trying to pretend to be a straight film star. Joey Richter’s Dash Gunfire was similar to his Ernest Hemingway in that both were rivals with Sean’s character, although Dash is way sillier.

And then there’s the Core Four. Sean and Sinéad’s characters and dynamic were very similar in A Tell-Tale Vlog, Poe Party, and Gilded Lily: both Poe and Ford are loners who secretly desire friends, and both Lenore and Fig are outgoing and talkative and enjoy winding up Sean’s character, who begrudgingly appreciates them despite his best efforts to abhor them. But of course, they are unquestionably different characters, and I think they both did an excellent job of adjusting their mannerisms to make them feel distinct. Mary Kate and Sarah’s characters, on the other hand, are essentially the complete opposite of what they played in Poe Party. Annabel was sweet and naïve and wanted everyone to be happy, whereas Vivian is bitter and jaded and having affairs with four different men in five different states (another great line) and doesn’t seem to care about anyone besides herself. Going straight from an ingenue to a femme fatale and absolutely nailing both was an excellent way for Mary Kate Wiles to demonstrate her incredible acting range. I’d already been a huge fan of her work for over five years at that point, and I was still blown away. Vivian doesn’t even get that much screentime, but gah, what MK does with her voice, like, just, close your eyes and listen to Annabel and then listen to Vivian, you can’t even tell they’re the same person. I feel like this also helps distinguish Edgar and Ford from each other. It’s a running theme in most Shipwrecked projects that Sean’s character is super into Mary Kate’s character, although they rarely end up together, and I can’t really explain why, but I don’t feel like Poe would be particularly into Vivian, nor would Ford be interested in Annabel. But I could be wrong about that, I don’t really understand how sexual or romantic attraction works. Anyway, all that being said, if I had to pick one single favorite aspect of The Case of the Gilded Lily, it would have to be Sarah Grace Hart as Wilhelmina Vanderjetski, mostly because she is absolutely hilarious, but also because she is so different from Emily Dickinson in Poe Party. Emily is forgotten by everyone the second after she introduces herself, whereas Wilhelmina is one of the most famous stars in Hollywood. Emily seems to know what’s going on, and I have a theory that she could have figured out the whole thing if people would have just listened to her, whereas Wilhelmina, bless her, is paying blackmail while also telling everyone what she��s being blackmailed for. Also it’s literally just… having a stage name. Not really something worth paying $20,000 per week to keep secret, especially if you’re just going to tell everyone anyway. But Sarah commits to this character so hard that you never once doubt that Willie would absolutely fall prey to this ridiculous scheme. She’s so earnestly oblivious in the most endearing and hilarious way that she’s probably my favorite Shipwrecked character, and possibly my favorite character in anything ever.

What I didn’t know at the time was that originally, Shipwrecked had planned to follow Poe Party with a whole series featuring these characters, but when they got invited to Buffer they knew they wouldn’t have time for all that, so they made The Case of the Gilded Lily as kind of a pilot for the Fig and Ford series. They did make it clear that they had at least some intentions of continuing the story, with a question mark appearing after “The End” and a quick post-credits scene with Vivian bursting into Fig and Ford’s office and saying, “Mr. Phillips, something terrible has happened!” After years with no word of what this could be leading to, I had almost given up hope of more from this world, and then, in 2022, Shipwrecked launched a Kickstarter for an audio narrative called The Case of the Greater Gatsby, currently coming out weekly on all major podcast platforms, and we’re finally getting more, and it is so delightful. Once again, I don’t feel like I’m doing a very good job of trying to figure out what’s going on, but I am living for the jokes.

Classic film noir tended to be relatively sexually explicit for its time – at least, as much as it was allowed to be under production codes. In particular, the male protagonist was often led astray by his attraction to the sexy but dangerous femme fatale. The Persauds had said that they were inspired by Who Framed Roger Rabbit, another noir parody, which turns these sexy expectations around with a femme fatale type character who is, if not overtly asexual, certainly ace-coded – she’s married to a rabbit, and when asked what the attraction is, she says, and I quote, “He makes me laugh.” The Case of the Gilded Lily finds a different way to put a twist on the femme fatale trope with Vivian Nightingale, who is certainly not ace-coded, but also doesn’t seem to be particularly dangerous – at least in the Gilded Lily plot, I don’t know where Greater Gatsby is going yet. Vivian is a possible suspect, and Ford is very attracted to her, but she’s innocent and nothing bad really comes of her involvement in this story. She has an attitude of, “I have no clue how I got mixed up with you clowns, but I’ll be fabulous while I’m here" that you have to admire. Really the only romance in The Case of the Gilded Lily is the one between Wilhelmina Vanderjetski and Roger Haircremé, and that one is… questionable, to put it mildly. For one thing, Willie lied to Roger about her background to get him to marry her. For another, Roger saw through her ridiculous story but pretended not to, instead blackmailing her to pay off his gambling debts. When Fig and Ford uncover this, instead of being furious with her husband, Wilhelmina is delighted that the blackmailer was just her kind, loving husband who’d never do anything to hurt her. Typically I’m very much in favor of forgiveness, but in this case I really don’t think Roger deserves it. In a way, this could be seen as illustrating the harms of amatonormativity, showing that Wilhelmina thinks staying with a blackmailer is preferable to having no husband, but it definitely comes across as her genuinely believing that Roger has done nothing wrong. It’s weird, but I love the way this shifts the noir trope of sexy-romance-gone-wrong to be about a couple who was married at the start and has no intention of getting divorced at the end, and involves a woman who bears zero resemblance to a typical femme fatale.

Like pretty much every other Shipwrecked project (besides Kissing in the Rain), The Case of the Gilded Lily is way more focused on platonic relationships than romantic or sexual ones. Even though the crime is related to Roger and Wilhelmina’s relationship, it’s solved mainly because of Fig’s friendship with Wilhelmina, Fig’s attempts to befriend Ford, and Ford’s friendship with Claudette. I didn’t know I was aroace when this came out, but I certainly appreciated all the non-romantic storylines. And I would argue that Gilded Lily does have at least one ace-coded character, although it’s not the one who reminds us of Jessica Rabbit: it’s Fig Wineshine. She wants to be friends with everyone but doesn’t show any signs of attraction to any of them. And she has this great line in Greater Gatsby when she’s describing how Cliff Calloway is a Hollywood heartthrob: “He didn't really do it for me. But then again he wasn't circular with crispy edges and a gooey middle.” She’s saying that her type is a literal cookie. There’s no allosexual explanation for that.

My main takeaway from The Case of the Gilded Lily back in 2017 was that Poe Party was not a fluke. I had truly stumbled upon an underappreciated group of talented, hardworking geniuses when I found Shipwrecked Comedy, and I was going to keep following and supporting their work from then on no matter what. And I have never regretted doing that for a second. Most of the projects they’ve made in the years since The Case of the Gilded Lily have been too short to count as movies, but they have all been incredibly delightful. I would highly recommend everything on their YouTube channel, in addition to the Greater Gatsby podcast they’re currently releasing, especially if you enjoy Old Hollywood; I am thoroughly enjoying all the references to actual movies and actors that I love by the fictional characters from the world of Fig and Ford that I also love. Shipwrecked keeps telling the exact stories I want to see and hear, and I cannot even begin to adequately express how much joy they have brought to my life. I truly hope everyone out there has found or will find a group of artists whose work means as much to them as Shipwrecked’s does to me.

Thank you for listening to me discuss another of my most frequently rewatched movies. Next week I will enter my top 5 with the oldest movie on this list, which I also watched 31 times. As always, I will leave you with a quote from that next movie: “Always remember that the truth has never hurt any man! …And anyway, if it does, I’ll go to the hospital with you.”

#the case of the gilded lily #fig and ford #shipwrecked comedy #the rewatch rewind #please watch this short

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thekatebridgerton · 2 years ago

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New Chapter is up and while I didn't have near as much fun with this one as I've had with the others. the sadistic part of me enjoys Phillip's anxiety whenever Kate or Sophie try to talk him into something. Not you Penelope, you're an angel...for now.

#kanthony #benophie #polin #philoise

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annamariaward · 2 years ago

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Bringing science to life! Proud to share that I had the opportunity to illustrate the cover art of the PhysicsQuest 2022 workbook featuring six inspiring scientists: Kate McAlpine, Caprice Phillips, Dr. Jocelyn Bell Burnell, Deborah Berebichez, and Dr. Sylvester James Gates. The interactive workbook is now on the American Physical Society's website https://bit.ly/3D7YC7J. It's for middle school students and educators, with teacher guides that include detailed implementation notes and fillable PDFs. Thank you so much to APS for trusting me with illustrating these amazing scientists for the cover! See the other covers I've made for APS on my portfolio website: https://www.annamariaward.com/projects/physicsquest

#physicsquest illustration physics STEMeducation womeninSTEM scienceillustration portraits illustrator

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puzzlebean · 2 years ago

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Puzzle's 2023 Writing Bingo Card One Masterlist

B1. Sock [MCU, Clintasha, 100 words, General]

Natasha buys Clint socks. Clint buys her scarves. This is love.

B2. Voyage [Defending Jacob, Andy Barber, 300 words, Teen and Up]

Andy doesn't stay in the country after everything that happened.

B3. Battery [Lightyear, Buzz Lightyear & Sox, 100 words, General]

Buzz is glad he has his friends and Sox.

B4. Battlefield [Arthurian Mythology, Arthur Pendragon & Mordred, 100 words, Mature]

This was always what fate had in store for them.

B5. Champagne [Marvel, Steve/Sharon, 100 words, General]

Steve and Sharon take some time to reconnect.

I1. Observer [DC, Superbat, 200 words, Teen and Up]

Clark watches the man he loves switch between his different identities.

I2. Sacrifice [Marvel, Steve/Sharon/Bucky, 604 words, Teen and Up]

Sharon takes a bullet for Bucky. When she wakes up again she, Steve and Bucky express their love for each other.

I3. Fire [DC, Superbat, 100 words, General]

Clark saves Bruce from a fire.

I4. Suit [Marvel, Jessica & Steve & Bucky, 100 words, Teen and Up]

Jessica shows off her new suit to Steve and Bucky.

I5. Mark [Marvel, Steve/Emma, 100 words, Mature]

Steve Rogers isn't the kind of guy Emma usually goes for but he's what she wants tonight.

N1. Loss [Merlin BBC, Merthur, 100 words, General]

Merlin has waited hundreds of years for Arthur's return. He grieves every day.

N2. Glimpse [Knives Out, Benoit Blanc/Phillip, 100 words, General]

Phillip worries about Benoit.

N3. Begin [Star Wars Sequels, Poe/Finn/Rey, 100 words, General]

There's an entire galaxy to explore. Rey is happy with her lovers.

N4. Rubbish [Marvel, Jessica Drew & Bucky Barnes, 100 words, Teen and Up]

Jessica didn't expect to make a friend while fighting Hydra.

N5. Mist [Merlin BBC, Merthur, 200 words, General]

Arthur finally returns.

G1. Precision [Marvel, Bucky & Alpine, 100 words, General]

Alpine wakes Bucky up.

G2. Landscape [Marvel, Steve/Sharon/Bucky, 100 words, General]

Steve paints the place where he and his lovers confessed their love.

G3. Game [Marvel, Steve Rogers & Arnie Roth, 100 words, General]

Steve and Arnie play cards like they used to.

G4. Cherry [Marvel Cinematic Universe, Bishlova, 100 words, Teen and Up]

Kate can't stop watching Yelena's lips.

G5. Food [Shadowhunters, Bubbie Helen & Isabelle Lightwood, 100 words, General]

Bubbie Helen teaches Isabelle how to cook.

O1. Piano [Marvel, Steve Rogers & Arnie Roth, 100 words, General]

Steve and Arnie look at the piano that belonged to Arnie's late husband.

O2. Risk [Star Wars Sequels, Poe/Finn/Rey, 100 words, General]

Poe never feels more alive than when he is flying.

O3. Island [Marvel, Jessica Drew, 100 words, Teen and Up]

Jessica just wanted a nice vacation but villains mess it up.

O4. Father [Shadowhunters, Izzy & Maryse & Robert, 100 words, General]

Isabelle used to love her father.

O5. Passage [Star Wars Sequels, Poe/Finn/Rey, 100 words, General]

BB-8 leads Rey to Finn and Poe.

#puzzles2023writingbingo #my fic #marvel fanfiction #star wars fanfiction #dc fanfiction #shadowhunters fanfiction #knives out fanfiction #merlin bbc fanfiction #stevesharon #emma frost x steve rogers #defending jacob fanfiction #lightyear fanfiction #stevesharonbucky #bishlova #clintasha #merthur #poefinnrey

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anonymouslylovesyou · 3 months ago

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Season 2 Episode 4 @whoblewboobear

Daphne bonding with her mom!!

Anthony always with the sulking

Edwinda don't phrase it like falling in love with Kate

The thing I'm dreading the most about the Kate/Anthony pairing is possibly hurting Edwinda she seems so serious about him

PENELOPE AND ELOISE ARE BACK

Crazy of Colin to visit Marina

Wait hold on the "Kate: I got stung

Anthony: Ah

Kate: I am well

Anthony, softer: Ah" is kinda getting me

These tv makers have got perking my emotions around down a to science the pacing is fantasic

Kate is kicking Anthony ass for being misogynistic again

The maid does not know how to ride a house I fear she is a danger to herself

What was Kate going to say...

Oh god Marina is a new victim to tell his travel stories to / joking I love him

Ah Colin and Phillip are getting along well

Ah shit Kate ran off to hunt on her own

The girls are fightinggg their so pissed to find the other one hot

ANTHONY YOU CANNOT HOLD HER LIKE THAT THERE NO CHAPERONE DID YOU NOT LEARN FROM YOUR SISTER OR LITERALLY THE OTHER DAY

I hate them so much fucking stop this you harlots

Man don't be mean about your husband's interest in botany

Marina is turning him down firmly but a little brutal AND NAMING PENELOPE

Also unrelated but I did have to pause the episode for a good while to project my autism onto Colin and cry about that for a tiny bit, therapy is expensive but recognition of self through other and Catharsis is freeee babyy

Edwinda is so happy and relieved to find out Kate and Anthony are getting along

Me about Edwinda:

Oo bonding over dad's perhaps??

NOT KATE HITTING HIM WITH "HOW DID HE DIE" Bro do not kiss in this library you're courting her sister

Love that Daphnes impression of Edwinda is "not bitchy enough for my bitch brother"

Daphne: Surely there's someone that's like you

Anthony, actively repressing his attraction to Kate:

It's extremely funny these motherfuckers are constantly drinking straight alcohol and are only ever tipsy when the plot demands it

Mhm what are you thinking Lady Danbury

Penelope my beloved she's so funny

Penelope's mom is scheming up some marriage entrapment

Edwinda said dance with my sister now, and she fully threw their lemonades away

God these dances look so good what are they called

BRUH DO NOT HESITATE ON CAN YOU MAKE MY SISTER HAPPY

Anthony is big mad that Kate will be leaving when Edwinda marries

Prudence you're so stupid <3

Wild tonal shift from the staged scandal to Anothy and Kate in the library

BRO DO NOT KISS IN THIS LIBRARY FOR THE LAST TIME

"yes I hate you" then why do you look like you wanna fuck him so bad?

HELLO ANTHONY STOP RIGHT NOW SLUT

Daphne knew she had to down alcohol for this convo

Anthony: and what kind of feelings are those?

Bitch you know

Anthony is about to act so stupid I know it

Ooo Lady Danbury "bro stop lying"

Oo Lord Featherington is confronting Penelope's mom AND TELLING HER HES BROKE

Colin and Penelope interaction!! Wuh woa he's condemning Lady Whistledown

Edwinda looked at Kate when she said Anthony's feelings may be elsewhere

PENELOPE SNUBBING PRUDENCE IN HER PAPER GOOD FOR HER YOUR SISTER WAS A BITCH ABOUT IT

NO KATE WAS ABOUT TO BE HONEST AND NOW ANTHONY IS PROPOSING

#boobear

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bookclub4m · 1 year ago

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Episode 186 - Suspense Fiction

This episode we’re discussing the fiction genre of Suspense! We talk about crime, mysteries, horror, and even suspense!

You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts or your favourite podcast delivery system.

In this episode

Anna Ferri | Meghan Whyte | Matthew Murray | Jam Edwards

Things We Read (or tried to…)

Ascension by Nicholas Binge

The Best American Mystery and Suspense 2023 edited by Lisa Unger and Steph Cha

Malice by Keigo Higashino

Dead Woman Walking by Sharon J. Bolton

Alice in Borderland by Haro Aso (Wikipedia)

Night Fever by Ed Brubaker and Sean Phillips

Reckless by Ed Brubaker and Sean Phillips

A Solitude of Wolverines by Alice Henderson

Read But Not Mentioned

Find Me by Anne Fraser

Ghost Eaters by Clay McLeod Chapman

The Midnight Line: Jack Reacher #22 by Lee Child

The Phantom Scientist by Robin Cousin, translated by Edward Gauvin

Wyrd, vol. 1 by Curt Pires and Antonio Fuso

Colorless, vol 1 by Kent

Project Hail Mary by Andy Weir

Kiss the Girls and Make Them Cry by Mary Higgins Clark

Other Media We Mentioned

Scalped by Jason Aaron, R.M. Guera, and others

Case Histories by Kate Atkinson

At the Mountains of Madness by H. P. Lovecraft (Wikipedia)

Welcome to the Goddamn Ice Cube by Blair Braverman

Small Game by Blair Braverman

Links, Articles, and Things

Hark! Podcast

Category:Fiction about death games (Wikipedia)

What Matthew described as “escape room fiction”

Final girl (Wikipedia)

20 Suspense Novels by BIPOC Authors

Every month Book Club for Masochists: A Readers’ Advisory Podcasts chooses a genre at random and we read and discuss books from that genre. We also put together book lists for each episode/genre that feature works by BIPOC (Black, Indigenous, & People of Colour) authors. All of the lists can be found here.

The Decagon House Murders by Yukito Ayatsuji

Dirty Laundry by Disha Bose

A Person of Interest by Susan Choi

When No One is Watching by Alyssa Cole

Sleeping with Strangers by Eric Jerome Dickey

The Between by Tananarive Due

Shutter by Ramona Emerson

The Other Black Girl by Zakiya Dalila Harris

We Lie Here by Rachel Howzell Hall

The Mantis by Kotaro Isaka

My Sweet Girl by Amanda Jayatissa

The Leftover Woman by Jean Kwok

Are You Sara? by S.C. Lalli

Cherish Farrah by Bethany C. Morrow

The Man in My Basement by Walter Mosley

Ride or Die by Gail-Agnes Musikavanhu

Fish Swimming in Dappled Sunlight by Riku Onda, translated by Alison Watts

Sinister Graves by Marcie R. Rendon

There Should Have Been Eight by Nalini Singh

In the Dark We Forget by Sandra S.G. Wong

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Join us again on Tuesday, December 19th it’s time for our Favourite Reads of 2023!

Then on Tuesday, January 2nd it’s time for trains, planes, and automobiles (and bicycles) as we discuss non-fiction books about Transit and Transportation!

#episodes #podcasts #suspense #fiction

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crookedstrangerwasteland · 1 year ago

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THE THIRD PERSON AS AN ALTERNATIVE THEORY

Raymond Reddington is born in 1960. Around 1977 he enters the Naval Academy and graduates in 1981-82. He joined the Naval Counter Intelligence and operated against the KGB. He is married in 1983 to Carla, also serving in the Navy, and in 1984 they have a daughter, Jennifer.Sometime in 1984 he is captured by a Russian agent code named Sea Duke, interrogated under torture and after 10 days he is rescued by a Pentagon-FBI joint operation.In 1956 an air force pilot Eugene Taylor Phillips, gives birth to a son, Julian Ralston Phillips (names don’t really matter). His mother, Elizaveta, is a White Russian, possibly of noble descent that escaped Russia after the fall of the Romanovs, and anti-communist.He grows up to be a rebellious and difficult child, changing homes often due to his father’s work. His father plans to send him to a military school after the family tradition but he does not want, gets into all kinds of trouble and he is arrested for petty theft. His father excommunicates him and finally he runs away when he is 17 years of age. In this scenario, Ilya and Ivan were not his childhood friends. They were Katarina’s friends.In 1984, Reddington was based in Naples, Italy, working in the NATO base. He was KGB’s most fearful enemy, so Sea Duke (Ivan Stepanov) decided to find another way to approach him since he failed the first time when he used force, so he sends a beautiful woman to seduce him. Her name is Katarina Rostova, married to a wealthy Russian Constantine Rostov, who lives in Canada. She is an American of Russian descent, who grew up in the States and she met Constantine in the White Russian circles. Reddington falls in love with her, and they have an affair. Katarina gets pregnant by Reddington, and in 1985 gives birth to a daughter, Masha. She tells Constantine that Masha is his child. Raymond does not know about Masha, but Katarina at some point tells him about their daughter.Reddington did not know that Katarina was the daughter of a Soviet Illegal spy (Russian name unknown) who have moved in the US in the 70s, living as a law abiding American, under the identity of Dominic Wilkinson. Eventually Dominic was transferred back to Moscow, and he became responsible for Illegals in the Western hemisphere. Katarina Wilkinson grew up in the States as an illegal that worked for KGB, used her marriage to Constantine as a cover, she was a travel agent, and that gave her the excuse to travel around the globe. She did not like communism she started working for Fitch and the Cabal, to bring down the Soviet Union. Tatiana Petrova in this scenario could have been Katarina’s Cyranoid, since they looked similar.Reddington abducts Masha from their home in Canada and takes her back to the States. Katarina soon follows along with Kate the nanny, leaving Constantine behind.Back in 1973, a young Julian lives in the streets with a gang of street kids who are thieves, organizing robberies to survive. Τhey try to rob the house of a wealthy American who happens to be Allan Fitch. The other kids escape but Allan captures Julian. Impressed by the boy’s talents and character offers him a deal. He will not hand him to the police, as long as he works for him. He also gives him a new identity (David Kennedy), reportedly he was abandoned as a baby in an orphanage, parents unknown. Fitch pays for his education and David joins the FBI. Fitch wants him to be his eyes and ears there, with a long term project to crack down criminal organizations that work against the US and later we find out the Cabal interests. He succeeds and in 1978 works as a junior agent. He meets Melissa, a kindergarten teacher, and they marry the same year. In 1979 they have a daughter named Elizabeth. In 1987 he works briefly with Sebastian Royce in one case. David is undercover and he helps bust an organization smuggling diamonds and as a result the organization is exposed, they lose millions of dollars. In March 22, 1987 David watches his daughter Liz dancing ballet for the last time. David asks the FBI to protect his family until all the organization’s criminals are put behind bars, but a few weeks later the organization murders his wife and daughter. In this scenario the Takhoma park house is his residence, not Reddington’s. H vows to avenge them. He quits the FBI and he contemplates suicide. Fitch asks him to work directly for him and the cabal. His mission is to create criminal organizations outside the law enforcement radar to advance the cabal’s interests. He is also authorized to eliminate criminals that oppose the cabal and threaten its interests worldwide. Fitch helps find the killers and David takes his revenge. This is the first time he tastes blood.During this period he meets and cooperates with Katarina Rostova, who is working for the cabal as a double agent. He becomes fond of Masha because she reminds him of his daughter and they become quite close. David also brings in Sam, one of the children he met when run away, who had become a successful con man. This line of work is perfect for him since when he was young he dreamed the life of outlaws.After the infamous fire Reddington dies and the fulcrum is lost. David was there with Katarina, and got his face burned while trying to find the fulcrum. David, who knew Reddington and his family through Katarina, stages Reddington’s disappearance until to decide what to do. In 1991 Katarina is hiding trying to figure out what to do but she is desperate, and David devices a plan to create a fake death. The 90s is the age that DNA identification slowly is used by the FBI. He has come across a criminal scientist who can transform someone’s DNA like that of a dead person and when examined to falsely show that is another person, similar to the alchemist’s MO. Those after Katarina bite the bait for a while and think she is dead. Unfortunately for Katarina, her enemies were able to discover the fake DNA and increase their efforts to locate her. They know that it was David who organized the ruse and he becomes a target as well. He has facial surgery since his face was badly burned and decides to take Reddington’s face since had a similar appearance, to get Reddington’s millions from the banks, and he does the same to Katarina to alter her face. People would believe he is Reddington, because after the fire he was badly burned and allegedly he had a plastic surgery to fix his face.Then he reinvents himself as Reddington, uses the fulcrum as a leverage against them and creates his criminal organization to keep him and Elizabeth safe from the cabal and Hydra until he can destroy them, his 30 year old project that gives purpose to his life. There is one thing to do to make sure nobody will find out his true identity. He and Katarina decide to bury Reddington’s body in Tansi farm so the world never learns that he died.There is one problem, if they ever discover the new Katarina she might be forced to reveal where Masha is. It’s a Hobson choice, to save Masha or Katarina. David takes Katarina and against her will erases her memory and gives her a new identity, that of Kassandra Bianchi. She is oblivious of her former self, and she will not recognize her daughter if they ever meet. This is what Dembe meant when he said that Elizabeth would never be ready to learn what you did to Katarina. They also alter Masha’s memory to forget her past and shooting her father. He now feels responsible for Masha who he sees as a replacement of his daughter, gives her to Sam. She now knows her name is Elizabeth, with no memory that once she was called Masha. He is obsessed with her and he sees her as a second opportunity to save her when he failed to save his own daughter. Although Reddington is dead he does not want his family to suffer the same fate as his and arranges to hide Carla and Jennifer in WITSEC.That is why when Kirk asked him if Masha was his daughter he refused to answer, but he replied that Elizabeth was his daughter.Only Fitch knew his real identity to the rest of the cabal and the world he was Reddington. That’s why Diana Fowler asked Red if he wanted to know what happened to his family, she meant to find out about Carla and Jennifer.Of course, this story is not perfect and maybe some readers would fins plot holes and mistakes, but it tries to follow the mythology as much as possible, with a more complex story than that of Redarina. His love to Liz is dark not parental exactly, and he has a purpose a 30 year old project, instead of doing all these just to save a child’s life but in the process drives her insane and kills her just because she was ashamed to tell her the truth. Where was the meaning of these after all?Όλες οι αντιδράσεις:11115 σχόλιαΜου αρέσει!ΣχόλιοΑποστολή

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sirphillipcranestanaccount · 1 year ago

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I got two responses, so look under the cut if interested

“Well, look who decided to show up!” Eloise heard Anthony exclaim from across the room. She looked over to the doorway to see a somewhat bedraggled Gregory.

“I’m sorry Ant, I would have been here over an hour ago if someone” Gregory briefly turned his head and glared at Hyacinth, “had picked me up to carpool like she said she would.”

“You weren’t there when I came to pick you up, so I figured you had sorted out a different ride,” Hyacinth said, giving him a one-shouldered shrug.

“I literally walked out of my building at five past two,” Gregory countered.

“And I said I would pick you up at two. Not my fault you aren’t punctual Greg,” Hyacinth said with vexing nonchalance.

Gregory rolled his eyes, made his apologies to Kate and Anthony, kissed his mother’s cheek and then sat on an ottoman that faced Hyacinth. Phillip sighed in relief that he didn’t try to sit in the small space left on the couch.

“You know, I’m actually not too upset Hy,” Gregory said, leaning forward and resting his elbows on his knees, “because you’ll never guess who I ran into on the train up here.”

Hyacinth was inspecting her nails, not bothering to look up at Gregory, “You’re probably right Greg. Over twenty million people live in the tri-state area, and as good as my deduction skills are…”

“I’ll just tell you then,” Gregory interrupted with a grin, “I ran into Gareth St.Clair!”

Hyacinth’s head swung to face Gregory and Phillip felt Eloise’s hand on his chest, trying to lean him back as she leaned forward to get a better view of her brother.

“Gareth St.Clair?” Eloise asked, shocked, “Agatha’s grandson?”

“The very one!” Gregory beamed.

Hyacinth returned to her casual posture, “I don’t see why that’s of any interest to me.”

Phillip turned to Eloise and asked in a somewhat hushed voice “Who’s Gareth St.Clair?”

“Our mom’s friend's grandson,” Eloise replied, “and Hyacinth’s girlhood infatuation.”

“I was not infatuated with him,” Hyacinth snapped.

“The multiple Sim families you made with him and yourself speak to the contrary” Eloise teased.

“He told me that you two are working on a project together,” Gregory said, trying to get everyone back onto his particular route on the way to embarrassing their youngest sister.

Hyacinth groaned and rolled her eyes.

“If by ‘working on a project together’ you mean that I’m the student supplemental instructor for Linguistics 3102 which he just happens to be taking…” she leaned forward for emphasis, “in spite of the fact that he’s a finance major, and decided to translate his paternal grandmother’s diary from Haitian Creole as his semester cumulative project and comes to me every other day because he bit off way more than he can chew, then yes we are working on a project together.”

“Hmm, I think I’ve struck a nerve,” Gregory smiled.

“Speaking of striking nerves” Hyacinth hissed, “are you still crashing frat parties in order to follow Hermione Watson around like a sick puppy?”

“I am not crashing, as an alumnus of the Sigma Phi Epsilon house, I have a standing invitation to all parties thrown there, SigEp brotherhood is for life, Hyacinth.”

Would anyone want to see a sneak peek at the L&F epilogue where I tease Hyareth and Grucy? or no?

#l&f au

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alrightsnaps · 3 years ago

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Aa far as I know, Polin is a big name in the fandom, and the brasil fandom especially keeps the hype up, so it won't have a problem gaining a huge audience and Nicola is the biggest giver within the cast. As for Eloise and Phillip, the Phillip actor is actually a very good actor from what I've seen in his other projects, it's not confirmed I know, but they'll surely attract audience if they keep up their acting skills clean. As for Rege, I don't think he will come back, it's not about just a cameo, he has practically expressed how much he does not want to be connected to Bridgerton. (His variety interviews said enough which is why most of the fandom doesn't bother with it anymore, and many people who love women's literature within the fandom were displeased with his answers, it's not that big a of a deal now, but we'd rather focus on the other siblings than him returning).

But it's Shonda rhimes she renewed Grey's anatomy for 19 seasons, so it's not going to be that hard with Bridgerton. I really hope it is eight seasons, especially because I love the last four stories too!

I have no doubts about Nicola, she's extremely talented, but the most talented actor in the world can't carry a romance alone. I do hope fans hype up the season though because with such a weak male lead I'm not sure how popular it could be.

Don't get me wrong, plenty of bland (or even ugly imo) actors have played male leads in period dramas, but Bridgerton gained its notoriety because it's not your typical Regency period drama. It focuses on romance, has sex scenes and caters to the female gaze. No matter the acting skills of Philip's actor, I'll hardly be looking forward to watch his sex scenes. (And if he's halfway as insufferable as in the book I have no idea how I'll make it through any of his scenes tbh).

Fingers crossed Bridgerton will at least maintain an acceptable audience (especially by keeping former mains like Kate or Anthony as regulars) to get renewed for season 6 and 7 because I'd really love to see Francesca and Hyacinth’s stories on screen. Not to mention that they would finally have the chance to cast some hot male leads as Michael and Gareth and revive the interest lmao.

Ugh, don't get me started on Regé’s attitude, both he and Theo James are just sooooo fucking annoying acting as if romance is beneath them. Meanwhile it's thanks to Bridgerton that Regé got famous worldwide and Sanditon that brought James back into the mainstream from years of irrelevance after Divergent (where he also got popular for playing a love interest lmao).

Bridgerton is a show that can definitely survive without Simon's character (and as you said most of us don't care because we'd rather focus on some of the other Bridgerton siblings), but it would be a nice gesture to come back for a cameo or two. At least that's what someone who's not acting like a diva and Can't Be Bothered with the show that made him famous would stay open to. Plot wise it won't make much of a difference anyway.

#asks #anon #bridgerton

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snapsbyshannen · 3 years ago

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E ZINE PROJECT RESEARCH

Reportage photography= shooting the most powerful image to convey the atmosphere of the event and ultimately preserving a moment forever.

The difference between reportage and documentary photography is reportage photography tells a story about a single event such as weddings whereas documentary photography tells a story about a topic such as climate change.

This is important to society as it makes us aware of issues going on around us we may be unaware of the extent to.

Is there such a thing as an image that isn't reportage? = No as many images come from one event and manifest into a topic such as natural disasters or individuals being badly treated by police ect.

2 photographers that have investigated street dumping

1. Clement Philippe

2. Anete lusina

Clement philippe is a nature and travel photographer and Anete is a street photographer.

Analysis of the images I have displayed

Clement Phillipes= camera technique used would be on manual mode with a F stop of potentially 8, shutter= 1/80 iso 400 natural day light, street dumping being their theme the image making your eye be drawn to the bin that Is toppling over and with the other bags of rubbish being below it makes you drawn into the image and understand the issue that is being photographers in addition eith the image being so sharp, bright and vibrant also attracts the viewer to the image.

Anete lusina= camera techniques used= potentially a F stop of 16, shutter= 1/100 iso 100. The lighting seems like it is kate afternoon/ going into nighttime as it is dull. Street littering/ Street photography being the theme, the image being very simple with only one subject to draw the viewer I'm making it pleasant for the viewer, the dull lighting and the more brighter vibrant coloured such as the green can and red empty packet of cigarettes creates a contrast in the images drawing the viewer directly to the focal point.

#location #nqphotoblog

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a-man-for-hire-and-his-archives · 4 years ago

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MAN OF MANY WORDS

A challenging role enticed Luke Arnold away from his other career as an author. Written by Lisa Woolford for The Sunday Mail (Queensland, 14th February 2021)

HE won a Logie for his brilliant portrayal of rock legend Michael Hutchence and has sailed the high seas as Long John Silver in Treasure Island prequel Black Sails. But Luke Arnold tells The BINGE Guide playing a normal Aussie bloke was the toughest challenge of his career.

That run-of-the-mill man is Josh Carlisle, in Foxtel’s acclaimed black comedy drama The End.

“He’s just a guy who fell in love with a girl and thought he was going to be with her for the rest of his life and then this awful tragedy has come out of nowhere,” Arnold explains.

“It was really great for me, but also a million per cent more challenging to realise there are not any places you can hide in this [character]. Josh is someone who could very much have been me or someone I grew up with.

“The less things you have to trick yourself into thinking this could be someone else, and the more you think this could be you – it is absolutely more challenging.

But, hopefully, if you are brave enough to sit in it, and be as vulnerable as possible, is when you can do better work.”

Brooke Satchwell plays Josh’s wife Beth who’s in the end stages of motor neurone disease and wants to be able die on her own terms. Kate (Frances O’Connor) is their doctor.

As we saw in the first episode, Beth and Josh reveal they have bought a drug they’re hoping to use so that Beth can end her life in a way they hope will be peaceful and painless.

Kate confiscates the drug but Beth ends up taking her own life in another way. It’s a powerful performance from Satchwell and a pivotal part of the 10-episode series.

You wonder if exploring such a deeply emotional landscape took its toll on the cast.

“Emotions can be addictive,” Arnold explains. “It was a great thing at drama school where they took us through shaking it off at the end of the day, but you can get into modes and they can stick with you ... you just have to consciously break out if you want to be a sane human being for the rest of your life.”

It is truly a stunning production – dealing with a range of confronting subject matter from suicide, euthanasia, depression, gender dysmorphia – handled in a humane and humorous way.

It’s also an impressive and “completely intimidating level of talent”, Arnold says, with a laugh about the ensemble cast including his fellow WAAPA graduate O’Connor, Noni Hazlehurst, Roy Billing, John Waters and the magnificent Dame Harriet Walter.

“I’m so proud to have been part of it,” says Arnold, who is currently also on our screens as Lewis Hayes in Home and Away.

“It came up from the script to begin with. Everyone who read the script was raving and wanting to be a part of it. It’s so funny and the drama is so great and the characters are so deep. There’s just a real vulnerability to everyone and a believability. It’s truly a real joy.”

With demand at a high across the globe for TV, the 36-year-old believes the influx of international productions heading to Australia will only benefit the local industry.

“I always feel like Australia does benefit the more stuff we are doing,” Arnold muses.

“Truthfully, it’s hard to make anything good, even when you get great people and a great idea and everything comes together. It’s a little bit of a numbers game, which is why I’m hopeful at the moment with more overseas productions coming here that it gives boon to the industry overall. It means more people are working and have a chance to keep their skills sharp.”

He explains: “When there isn’t enough stuff going on, we lose a lot of people from the industry – we’re all freelancers essentially. If there’s no chance to go to another job, people have to go and do other things if they want to support their families.”

Arnold says he’s been lucky, he’s almost always been just one step ahead of COVID. And while it certainly wasn’t the year he, and let’s face it anyone of us, had planned he feels fortunate.

He was supposed to be on a world book tour for his debut novel The Last Smile in Sunder City and its sequel Dead Man in a Ditch, which were both released in 2020.

A third book in the Fetch Phillips Archives fantasy series is underway. Arnold had grand plans to be an author until acting took the lead.

It was only a few years ago, after he ticked enough boxes in the acting world, that he felt comfortable to create his first manuscript and local publisher Hachette Australia snapped it up.

While some can write in tandem with other projects, Arnold has to take a break from everything else and pour all his energy and focus into his book.

“It’s funny, some people can finish a full day and then go and put their hour [of writing] in – I’m really bad at that,” he laughs.

“That’s why it’s worked with me and acting because you find yourself in a period where you’re probably not going to do any acting for two months and I can sink into [writing].”

He adds: “I’m getting to know other fantasy authors and plenty work as doctors and in other careers and manage to pull out a big epic fantasy every year.

“It’s very admirable – for me, I can’t even respond to emails or texts. I just have to take a break from everything.”

THE END 8.30PM, TUESDAY, FOX SHOWCASE

#luke arnold #black sails #inxs never tear us apart #the end #interview

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schattenkino-der-postmotten · 3 years ago

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SCHATTENKINO FÜR POSTMOTTEN

Alexander Wilson, Aesthesis and Perceptronium: On the Entanglement of Sensation, Cognition, and Matter, University of Minnesota Press

Anil Bhatti, Dorothee Kimmich, Albrecht Koschorke, Rudolf Schlögl, Jürgen Wertheimer, Ähnlichkeit, Internationales Archiv für Sozialgeschichte der deutschen Literatur

Arthur Kroker, Body Drift: Butler, Hayles, Haraway, University of Minnesota Press

Augusto Monterroso, Das Schwarze Schaf und andere Fabeln

Bernd Flessner, Nach dem Menschen: Der Mythos einer zweiten Schöpfung und das Entstehen einer posthumanen Kultur, Rombach

Bruce Clarke, Gaian Systems: Lynn Margulis, Neocybernetics, and the End of the Anthropocene, University of Minnesota Press

Bruce Clarke, Neocybernetics and Narrative, University of Minnesota Press

Carsten Strathausen, Bioaesthetics: Making Sense of Life in Science and the Arts, University of Minnesota Press

Cary Wolfe, What Is Posthumanism?, University of Minnesota Press

Catherine Bell, Performing Animality

Constance Classen, Worlds of Sense: Exploring the Senses in History and Across Cultures, Routledge

Cora Diamond, Fleisch essen und Menschen essen

Daniel S. Traber, Whiteness, Otherness and the Individualism Paradox From Huck to Punk, Palgrave Macmillan

David Cecchetto, Humanesis: Sound and Technological Posthumanism, University of Minnesota Press

David Farrier, Anthropocene Poetics: Deep Time, Sacrifice Zones, and Extinction, University of Minnesota Press

David Wills, Inanimation: Theories of Inorganic Life, University of Minnesota Press

David Wills, Dorsality: Thinking Back Through Technology and Politics, University of Minnesota Press

David Wood, Thinking Plant Animal Human: Encounters With Communities of Difference, University of Minnesota Press

Davide Tarizzo, Life: A Modern Invention, University of Minnesota Press

Debashish Banerji, Makarand R. Paranjape, Critical Posthumanism and Planetary Futures, Springer

Diana Walsh Pasulka, Michael Bess, Posthumanism: An Introductory Handbook, Macmillan

Dominic Pettman, Creaturely Love: How Desire Makes Us More and Less Than Human, University of Minnesota Press

Dominic Pettman, Human Error: Species-Being and Media Machines, University of Minnesota Press

Donna J. Haraway, Die Neuerfindung der Natur: Primaten, Cyborgs und Frauen, Campus-Verlag

Donna J. Haraway, When Species Meet, University of Minnesota Press

Donna J. Haraway, Cary Wolfe, Manifestly Haraway, University of Minnesota Press

Drew Ayers, Spectacular Posthumanism: The Digital Vernacular of Visual Effects, Bloomsbury Academic

Edwina Ashton, Steve Baker, The Salon of Becoming-Animal, New York University and the Massachusetts Institute of Technology

Élisabeth Fontenay, Without Offending Humans, University of Minnesota Press

Elizabeth Grosz, Animal Sex: Libido as Desire and Death, Routledge

Erik Hannerz, Performing Punk, Palgrave Macmillan

Erika Cudworth, Stephen Hobden, The Emancipatory Project of Posthumanism, Routledge

Ernst Kapp, Elements of a Philosophy of Technology: On the Evolutionary History of Culture, University of Minnesota Press

Francesca Ferrando, Philosophical Posthumanism, Bloomsbury Publishing

Gilbert Simondon, Individuation in Light of Notions of Form and Information, University of Minnesota Press

Gilles Deleuze, Felix Guattari, Tausend Plateaus. Kapitalismus und Schizophrenie, Merve Verlag

Giovnni Aloi, Deleuzian

Glemens-Garl Härle, Karten zu Tausend Plateaus, Merve Verlag

Ian Bogost, Alien Phenomenology, Or, What It's Like to Be a Thing, University of Minnesota Press

Ilya Prigogine, Isabelle Stengers, Order Out of Chaos: Man's New Dialogue With Nature, Bantam New Age Books

Indra Sinha, Menschentier, Edition Büchergilde

Isabelle Stengers, Thinking With Whitehead a Free and Wild Creation of Concepts, Harvard University Press

Isabelle Stengers, Cosmopolitics I, University of Minnesota Press

Isabelle Stengers, Cosmopolitics II, University of Minnesota Press

Jacques Derrida, Ned Lukacher, Cinders, University of Minnesota Press

Jakob von Uexküll, A Foray Into the Worlds of Animals and Humans: With a Theory of Meaning, University of Minnesota Press

Jamie Lorimer, The Probiotic Planet: Using Life to Manage Life, University of Minnesota Press

Joey Keithley, Jack Rabid, I, Shithead: A Life in Punk, Arsenal Pulp Press

John Ó Maoilearca, All Thoughts Are Equal: Laruelle and Nonhuman Philosophy, University of Minnesota Press

John Protevi, Political Affect, University of Minnesota Press

John Robb, Punk Rock: An Oral History, PM Press

Judith Roof, The Poetics of DNA, University of Minnesota Press

Julian Yates, Of Sheep, Oranges, and Yeast: A Multispecies Impression, University of Minnesota Press

Julius Zimmermann, Die Eigenständigkeit der Dinge

Jussi Parikka, Insect Media: An Archaeology of Animals and Technology, University of Minnesota Press

Kalpana Rahita Seshadri, HumAnimal: Race, Law, Language, University of Minnesota Press

Karen Pinkus, Fuel: A Speculative Dictionary, University of Minnesota Press

Kate Devlin, Turned On: Science, Sex and Robots, Bloomsbury Sigma

Kathy High, I offer my power in the service of love

Laura Erickson-Schroth, Trans Bodies, Trans Selves: A Resource for the Transgender Community, Oxford University Press

Laurent Dubreuil, The Intellective Space: Thinking Beyond Cognition, University of Minnesota Press

Laurent Dubreuil, Sue Savage-Rumbaugh, Dialogues on the Human Ape, University of Minnesota Press

Legs McNeil & Gillian McCain, Please Kill Me: The Uncensored Oral History of Punk, Grove/Atlantic, Inc.

Lutz Dammbeck, DAS NETZ - Die Konstruktion des Unabombers & Das "Unabomber-Manifest": Die Industrielle Gesellschaft und ihre Zukunft: Nautlius Flugschrift, Edition Nautilus

Mads Rosendahl Thomsen, The Bloomsbury Handbook of Posthumanism, Bloomsbury Academic

Marcel O'Gorman, Necromedia, University of Minnesota Press

María Puig de La Bellacasa, Matters of Care: Speculative Ethics in More Than Human Worlds, University of Minnesota Press

Martin Kurthen, Robert Payne, White and Black Posthumanism: After Consciousness and the Unconscious, Springer

Matthew Fuller, Olga Goriunova, Bleak Joys: Aesthetics of Ecology and Impossibility, University of Minnesota Press

Michael Hauskeller, Curtis D. Carbonell, Thomas D. Philbeck, The Palgrave Handbook of Posthumanism in Film and Television, Palgrave Macmillan

Michael Haworth, Neurotechnology and the End of Finitude, University of Minnesota Press

Michel Serres, The Parasite, University of Minnesota Press

Mick Smith, Against Ecological Sovereignty, University of Minnesota Press

Mickey Weems, The Fierce Tribe: Masculine Identity and Performance in the Circuit, University press of Colorado

Neil H. Kessler, Ontology and Closeness in Human-Nature Relationships: Beyond Dualisms, Materialism and Posthumanism, Springer

ngbk, Tier-werden, Mensch-werden

Nicole Shukin, Animal Capital: Rendering Life in Biopolitical Times, University of Minnesota Press

Nigel Rothfels, Representing Animals, Indiana University Press

Oliver Krüger, Die Vervollkommnung des Menschen, E-Pub

Peter Atterton & Matthew Calarco, Animal Philosophy, Ethics and Identity: Essential Readings in Continental Thought, Continuum

Peter Mahon, Posthumanism: A Guide for the Perplexed, Bloomsbury Academic

Phillip Thurtle, Biology in the Grid: Graphic Design and the Envisioning of Life, University of Minnesota Press

Raymond Ruyer, Neofinalism, University of Minnesota Press

Riccardo Campa, Humans and Automata: A Social Study of Robotics, Peter Lang

Roberto Esposito, Bios: Biopolitics and Philosophy, University of Minnesota Press

Roger F. Cook, Postcinematic Vision: The Coevolution of Moving-Image Media and the Spectator, University of Minnesota Press

Ron Broglio, Surface Encounters: Thinking With Animals and Art, University of Minnesota Press

Siegfried Zielinski, Variations on Media Thinking, University of Minnesota Press

Stanislaw Lem, Sterntagebücher

Stefan Lorenz Sorgner, Branka-Rista Jovanovic, Evolution and the Future: Anthropology, Ethics, Religion- in Cooperation With Nikola Grimm, Peter Lang

Steve Baker, Artist Animal, University of Minnesota Press

Steven Shaviro, The Universe of Things: On Speculative Realism, University of Minnesota Press

Susan McHugh, Animal Stories: Narrating Across Species Lines, University of Minnesota Press

Thierry Bardini, Junkware, University of Minnesota Press

Timothy C. Campbell, Improper Life: Technology and Biopolitics From Heidegger to Agamben, University of Minnesota Press

Timothy Campbell, Adam Sitze, Biopolitics: A Reader, Duke University Press

Timothy Morton, Hyperobjects: Philosophy and Ecology After the End of the World, University of Minnesota Press

Tom Tyler, CIFERAE: A Bestiary in Five Fingers, University of Minnesota Press

Vilém Flusser, Rodrigo Maltez Novaes, Vampyroteuthis Infernalis, Atropos Press

Vinciane Despret, What Would Animals Say if We Asked the Right Questions?, University of Minnesota Press

#posthumanism #viecher #imitation #donna haraway #karen barad #bruno latour #reader

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mia-soufi2018 · 5 years ago

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HRH The Duchess of Cambridge is crowned Catherine the Great on the July/August cover

Kate Middleton's star is going stratospheric as the country looks to the monarchy for morale. Anna Pasternak charts her ascent

by ANNA PASTERNAK

25 MAY 2020

Has the Duchess of Cambridge suddenly become one of the most influential women in the world?

Front and centre of the new, slimmed-down monarchy, Kate hasn’t put an LK Bennett-shod foot out of place in the nine years she has been William’s wife. That was clear as the coronavirus outbreak became a pandemic and she took on extra royal duties – making public appearances remotely as the country went into lockdown. There she was, clapping for the NHS, speaking to primary-school children over Zoom, offering support to the new Nightingale hospital by telephone from Kensington Palace and giving relatable interviews about the challenges of homeschooling. William seems adrift when Kate is not by his side (take the awkwardly wooden Children in Need skit he attempted with Stephen Fry, for example). Kate is, some argue, a kingmaker.

Certainly royal courtiers have murmured their approval. ‘Kate understands that the only credo of the Royal Family is duty, duty, duty,’ says one. ‘Whereas with the Sussexes it is constant uncertainty, [the Cambridges] represent stability and continuity.’ It’s easy to forget, with the all-encompassing threat and disruption of the coronavirus crisis, that this tumultuous time follows an extremely busy period for William and Kate. In the wake of Harry and Meghan standing down as senior royals and seeking exile in North America, Kate took on 11 royal engagements in a month – three in the space of 24 hours. It was a gruelling attempt to buffer the barrage of bad news destabilising the House of Windsor on a near-daily basis: the divorces (the Queen’s nephew Lord Snowdon and her grandson Peter Phillips); Prince Andrew’s mortifying fall from grace; the Sussexes’ surly press statements; and those naff Chinese milk adverts. Amid it all, Kate has emerged serene and smiling.

Out went safe shift dresses, in came silk pussy-bow blouses and softer blowdries. Everywhere, there was talk of Kate, opening up on podcasts about ‘mum guilt’. As a good friend of hers points out, ‘Kate knows what the country needs and wants. Championing how to raise your children is perfect.’ Yet, privately, said another friend, ‘Kate is furious about the larger workload. Of course she’s smiling and dressing appropriately but she doesn’t want this. She feels exhausted and trapped. She’s working as hard as a top CEO, who has to be wheeled out all the time, without the benefits of boundaries and plenty of holidays.’ Some say that beneath the yummy-mummy exterior is a spine of steel; that, in many ways, she’s reminiscent of the late Queen Mother, whom Cecil Beaton described as ‘a marshmallow made on a welding machine’. Because surviving, let alone thriving, in the House of Windsor is no mean feat.

Was it Kate who advised William on his recent modernising speeches and causes while toning down her own rigid body language? Was she instrumental in William’s jarringly woke ‘inclusivity’ Bafta speech? Has seeing Meghan exit stage left from royal life played to Kate’s advantage? Is the royal once dubbed the Duchess of Dolittle because she had so few public engagements stealthily establishing herself as kingmaker – the person to save, and salve, the monarchy?

In many ways, it’s difficult to get a true sense of the real Duchess of Cambridge – so determined does she seem to project an aura of blandness as part of her regal persona. When I broach the subject, I hear the same sentiments from others, from royal insiders to society figures: ‘I just don’t know who she is.’ One member of the young royal set says: ‘I’ve spent quite a lot of time around Kate and she is impenetrable. There is nothing to like or dislike.’ Yet, the source continues, ‘she has a ruthless survival streak, just like the House of Windsor. It’s why she is so well suited. She keeps her head down because the prize of being queen is so great. She models herself on the Queen and now speaks like the Queen.’

It’s been a rapid ascent for a girl born into an upper-middle-class family in Reading. She and her siblings attended Marlborough, thanks to her parents’ thriving mail-order business, and while there she had a poster of Prince William on her wall. Then in 2001, at university – Sloane central, St Andrews, where she read history of art – she met William. She reputedly mixed with an almost exclusively grand set and famously appeared in a sheer dress on the student catwalk. Dating William for several years earned her the cruel nickname Waity Katy from the press. The waiting paid off – they married in fairy-tale splendour in 2011 – but the sniping persisted.

‘In the beginning it was quite difficult for Kate as she wasn’t born into those circles,’ says a royal insider. She suffered the indignity of the ‘doors to manual’ jibe (a reference to her mother Carole’s former role as an air hostess) and needles about her ‘common’ family background – Carole being ‘NQOCD’ (Not Quite Our Class, Darling) for having been born in a council flat in Southall and descended from Durham coal-mining stock. Plus, horror of horrors, Carole allegedly ‘chewed gum’ during William’s passing-out ceremony at the Sandhurst military academy.

Worse yet, Carole’s brother, Kate’s uncle Gary, is a flamboyant boulevardier on his fourth marriage. He owned a villa in Ibiza, where Kate and William stayed, called La Maison de Bang Bang, and was a victim of a News of the World drugs sting (he said he was manipulated and set up). Yet Kate has never complained about her press drubbing nor disinvited dodgy relatives from her wedding. There seems to exist within her a genuine stoicism. But one wonders if the criticism gets her down.

Notably, in 2013, the Man Booker-winning novelist Hilary Mantel sparked outrage when she gave a lecture in which she described Kate as ‘gloss-varnished’. In what the press called a ‘vicious’ and ‘venomous’ attack, Mantel said: ‘Kate seems to have been selected for her role of princess because she was irreproachable; as painfully thin as anyone could wish, without quirks, oddities, without the risk of emergence of character.’ In fact, the lecture provoked such a maelstrom of opinion that the then prime minister, David Cameron, took time out of a trip to India to refute the ‘completely misguided and completely wrong’ summation of the Duchess of Cambridge and what Mantel called her ‘perfect plastic smile’. No doubt it stung, but Kate bore it silently. In crisis, friends say, Kate retreats to the protective embrace of her family. Her commendable backbone comes from her mother. ‘They are a very close family and totally united,’ says a friend of the Middletons. It helps that in William’s eyes Carole and Michael Middleton can do no wrong. ‘He absolutely adores them. Michael is charming. Really kind, soft and gentle. William loves going to the country to stay with them. Their family life is so soothing for him as it’s so different from his own family.’ Another country grandee says: ‘I’ve heard that Prince William is obsessed with Carole. She’s the mummy he always wanted.’

Yet it’s Carole, with what some call her Hyacinth Bucket aspirations of grandeur, who, rumour has it, puts people’s backs up in a way Kate does not. Some people have apparently found her exacting. A skilled craftsman who worked on Anmer Hall, William and Kate’s country home, and is used to a roster of prestigious and potentially tricky customers, said that he found Carole ‘the most difficult client’ he had ever worked with: ‘She was exceedingly demanding, fussy and questioned everything.’ Carole has put her stamp on Anmer decor-wise. Far from being a typical aristo abode, with threadbare rugs and dog hair everywhere, like, say, Windsor and Balmoral, it is, according to a visitor, ‘like a gleaming five-star hotel, with cushions plumped and candles lit’. Another adds: ‘It’s very Buckinghamshire.’

While Kate has praised her close family and happy childhood, there’s no denying that Carole is a formidable matriarch. ‘Carole is a terrible snob,’ alleges a friend of Donna Air, ex-girlfriend of Kate’s brother, James. ‘Donna is a really lovely girl, but Carole got quite grand.�� She adds: ‘Carole is the masterminding force between those girls.’

Kate and her sister, Pippa, remain the closest of confidantes, presumably because it feels safe. ‘Pippa now speaks like the Queen, too, and is absolutely paranoid about the paparazzi,’ says one of her circle. ‘She refers to her sister as Catherine or “the duchess” in public, which feels too regal and try-hard. Pippa is a bit lost now and is struggling to find her place. She’s always in the shadow as someone’s sister or someone’s wife. But they are all utterly loyal to each other. The Middleton family will always close ranks. None of them can quite believe that they have hit the jackpot, so between Kate, Pippa and Carole there is an unspoken bond. A sort of “We have to bring it to fruition at all costs”.’

When it comes to the Middletons, continues the friend, ‘The big thing in their family is control.’ Another member of their circle concurs: ‘In person, Catherine is a bit warmer and slightly more fun than in public, but you are aware that she is always aware of how careful she has to be. There is a level of control that she has to retain. I don’t think she’d know how to fully let her guard down now, even if she wanted to.’

It’s true that when she speaks, in her carefully modulated voice (coached with the help of the late Anthony Gordon Lennox, Old Etonian nephew of the Duke of Richmond – friends say that Kate’s accent became ‘posher’ at Marlborough and that now she sounds ‘even more plummy than William’), she says all the right things, and more often prefers to be called Catherine. But where is the passion? Maybe this is a defence against appearing like Diana, Princess of Wales, who put The Firm’s backs up by being over-emotional, volatile, vulnerable and skittishly complex. But God, she was loved for it.

Publicly, Kate may not inspire Lady Di levels of adoration, but she certainly has a following: a big one. And as time has gone on, the other royals have developed great respect for her because she’s doing the job so well. ‘She doesn’t create press headaches or court scandal, which, given everything else that is going on, is an almighty relief,’ says a courtier.

Her loyalty has been noted and duly rewarded. In 2018, the Queen bestowed on her granddaughter-in-law the Royal Family Order. One of the highest orders that the monarch can bestow upon a female member of the Royal Family, this is undoubtedly well deserved.

Not everyone is pro Kate. It’s no secret that the royal sisters-in-law never got on. ‘I don’t think that she ever pulled Meghan under her wing and said, “I’ll show you the ropes,”’ says a friend. ‘Catherine and William were very circumspect from the beginning about Meghan, which hurt and incensed Harry. William rightly cautioned Harry to slow the relationship down. That’s why they all fell out. As the rift got deeper between the brothers, Kate, who used to be so close to Harry, tried to pacify things. But her loyalty will always be to William.’

‘Then there was an incident at the wedding rehearsal,’ another friend of the Cambridges’ claims. ‘It was a hot day and apparently there was a row over whether the bridesmaids should wear tights or not. Kate, following protocol, felt that they should. Meghan didn’t want them to.’ The photographs suggest that Meghan won. Kate, who has impeccable manners, sought the opportunity to put Meghan in her place, reprimanding her for speaking imperiously to her Kensington Palace staff. ‘In the palace, you hear numerous stories of the staff saying so-and-so is a nightmare and behaves badly but you never hear that about Kate,’ says a royal insider. Another courtier says: ‘Kate keeps her staff whereas Meghan doesn’t. Doesn’t that say everything?’

The Court Circular is your inside track on the latest happenings in the Royal Family, covering the biggest stories shaping the monarchy right now.

Kate’s loyalty extends to a coterie of friends that is incredibly small, tight-knit and long-standing. Yet you never see her out lunching with girlfriends, as we did Diana, papped giggling on the steps of San Lorenzo. Her group, on the face of it, appears more staid – or cautious.

‘Kate is one of us in the sense that all her friends are Sloanes and aristocrats,’ says one of her group. ‘She’s very much decided that that’s her tribe, even though she wasn’t actually born into that background.’ Commendably, she’s kept her girlfriends from Marlborough, including Emilia Jardine Patterson and Trini Foyle, as well as blending with William’s friends such as Lady Laura Meade and her husband, James Meade, and Thomas van Straubenzee and his wife, Lucy Lanigan O’Keeffe, who teaches at Thomas’s Battersea, where Charlotte and George go to school.

Then there’s her ‘Turnip Toff’ crowd, the Norfolk Sloanes, including Sophie Carter and Robert Snuggs, who live near Anmer Hall. And the Cambridges’ glamorous Houghton Hall neighbours, Rose Hanbury and her husband, the Marquess of Cholmondeley – with whom there was an alleged falling-out last year, over Rose’s apparent closeness to William. The whole of Norfolk was agog and the story spilled over into the newspapers. No party has commented publicly on the matter.

Outwardly, it seems that with years of scrutinising public pressure Kate has become perilously thin, just like – some point out – Princess Diana. One could argue that Kate is naturally slim and indeed, like Pippa, a vigorous exerciser. Or perhaps her size is down to the stress of being a multitasking mother of three – one countenancing the additional worries of defending a Royal Family seemingly under siege. ‘William is absolutely incandescent about Megxit,’ a courtier confides. ‘Every time the Sussexes issue a statement, it hits everyone like a fresh bombshell. The Cambridges are left reeling like everyone else. Everyone is terribly worried about how this is affecting the Queen.’

Then there’s the matter of the Sussexes’ awful timing. As the Queen gave a historic speech urging the public to adhere to the government’s pleas for self-isolation – and on the day the prime minister was taken to hospital gravely ill from the coronavirus – Harry and Meghan chose to announce a new charity endeavour, Archewell, from their haven in LA.

‘Meghan and Harry have been so selfish,’ says a friend of the Cambridges. ‘William and Catherine really wanted to be hands-on parents and the Sussexes have effectively thrown their three children under a bus. There goes their morning school runs as the responsibilities on them now are enormous.’ More’s the pity. For it is Kate’s presentation as an everywoman that has endeared her to the public lately. There she was, catching the £73 Flybe flight to Scotland; expertly making roulade alongside Mary Berry on TV last Christmas; popping into the pub with her fellow school mums in Chelsea; and, during a visit to a children’s centre in Cardiff, talking about feeling lonely as a new mother.

There she was too at the school gates. One mother at Thomas’s says: ‘Kate has grown in my esteem because she is genuinely involved with the school. She does the drop-off herself, comes to coffee mornings and even queues to get her own coffee after drop-off, like the other mothers.’ Which, of course, she is, and she isn’t.

Perhaps Mantel had it right about Kate – up to a point. The aura of blandness is practised. In her future role as queen consort, her enigmatic containment will enhance her sovereignty. She is a royal ballast, William’s most trusted adviser, and someone who puts duty above all else. Endearingly, following the spirit of Diana, both William and Kate consult psychics. A medium who went to Kensington Palace to ‘channel’ for them found William to be ‘open-hearted and lovely’. Kate, while scrupulously polite, was more ‘shut-down’. Maybe she was merely going through the motions to appease her husband?

Whatever the truth, as the woman behind the man who will reign from what Winston Churchill called ‘the greatest throne in history’, Kate has emerged as the ultimate power player. Underestimate Queen Catherine at your peril.

The July/August issue of Tatler, on newsstands on Thursday 28th May. Subscribe now to receive a trial offer of 3 issues for £1, with free home delivery and free digital editions.

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smashpages · 5 years ago

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Winners announced for the 2019 Eisner Awards

The winners were announced last night for the 2019 Will Eisner Comic Industry Awards.

Tom King and Mitch Gerads, partners on the Mister Miracle series from DC, took home five awards between them. John Allison’s Giant Days and The Prince and the Dressmaker by Jen Wang also took home multiple awards.

The Eisner Awards also inducted 10 people into the Hall of Fame last night: the judges chose Jim Aparo, June Tarpé Mills, Dave Stevens and Morrie Turner, while voters chose José Luis García-López, Jenette Kahn, Paul Levitz, Wendy and Richard Pini, and Bill Sienkiewicz to join the class of 2019.

Other awards given out last night included the The Bill Finger Excellence In Comic Book Writing Award, which was presented to Mike Friedrich and the late E. Nelson Bridwell, and the Russ Manning Most Promising Newcomer Award, which went to Lorena Alvarez.

The 2019 recipients of the Bob Clampett Humanitarian Award were Edgardo Miranda-Rodriguez, for his work on Ricanstruction: Reminiscing & Rebuilding Puerto Rico, and comic artist Tula Lotay, AKA Lisa Wood, for creating the UK-based Thought Bubble Festival. And La Revisteria Comics in Argentina won the Will Eisner Spirit of Comics Retailer Award.

You can see all the Eisner winners below, in bold.

Best Short Story

“Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)

“The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)

“Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)

“Life During Interesting Times,” by Mike Dawson (The Nib), https://thenib.com/greatest-generation-interesting-times

“Supply Chains,” by Peter and Maria Hoey, in Coin-Op #7 (Coin-Op Books)

“The Talk of the Saints,” by Tom King and Jason Fabok, in Swamp Thing Winter Special (DC)

Best Single Issue/One-Shot

Beneath the Dead Oak Tree, by Emily Carroll (ShortBox)

Black Hammer: Cthu-Louise, by Jeff Lemire and Emi Lenox (Dark Horse)

No Better Words, by Carolyn Nowak (Silver Sprocket)

Peter Parker: The Spectacular Spider-Man #310, by Chip Zdarsky (Marvel)

The Terrible Elisabeth Dumn Against the Devils In Suits, by Arabson, translated by James Robinson (IHQ Studio/ Image)

Best Continuing Series

Batman, by Tom King et al. (DC)

Black Hammer: Age of Doom, by Jeff Lemire, Dean Ormston, and Rich Tommaso (Dark Horse)

Gasolina, by Sean Mackiewicz and Niko Walter (Skybound/Image)

Giant Days, by John Allison, Max Sarin, and Julaa Madrigal (BOOM! Box)

The Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José (Marvel)

Runaways, by Rainbow Rowell and Kris Anka (Marvel)

Best Limited Series

Batman: White Knight, by Sean Murphy (DC)

Eternity Girl, by Magdalene Visaggio and Sonny Liew (Vertigo/DC)

Exit Stage Left: The Snagglepuss Chronicles, by Mark Russell, Mike Feehan, and Mark Morales (DC)

Mister Miracle, by Tom King and Mitch Gerads (DC)

X-Men: Grand Design: Second Genesis, by Ed Piskor (Marvel)

Best New Series

Bitter Root, by David Walker, Chuck Brown, and Sanford Green (Image)

Crowded, by Christopher Sebela, Ro Stein, and Ted Brandt (Image)

Gideon Falls, by Jeff Lemire and Andrea Sorrentino (Image)

Isola, by Brenden Fletcher and Karl Kerschl (Image)

Man-Eaters, by Chelsea Cain and Kate Niemczyk (Image)

Skyward, by Joe Henderson and Lee Garbett (Image)

Best Publication for Early Readers (up to age 8)

Johnny Boo and the Ice Cream Computer, by James Kochalka (Top Shelf/IDW)

Petals, by Gustavo Borges (KaBOOM!)

Peter & Ernesto: A Tale of Two Sloths, by Graham Annable (First Second)

This Is a Taco! By Andrew Cangelose and Josh Shipley (CubHouse/Lion Forge)

Tiger Vs. Nightmare, by Emily Tetri (First Second)

Best Publication for Kids (ages 9–12)

Aquicorn Cove, by Katie O’Neill (Oni)

Be Prepared, by Vera Brosgol (First Second)

The Cardboard Kingdom, by Chad Sell (Knopf/Random House Children’s Books)

Crush, by Svetlana Chmakova (JY/Yen Press)

The Divided Earth, by Faith Erin Hicks (First Second)

Best Publication for Teens (ages 13–17)

All Summer Long, by Hope Larson (Farrar Straus Giroux)

Gumballs, by Erin Nations (Top Shelf/IDW)

Middlewest, by Skottie Young and Jorge Corona (Image)

Norroway, Book 1: The Black Bull of Norroway, by Cat Seaton and Kit Seaton (Image)

The Prince and the Dressmaker, by Jen Wang (First Second)

Watersnakes, by Tony Sandoval, translated by Lucas Marangon (Magnetic/Lion Forge)

Best Humor Publication

Get Naked, by Steven T. Seagle et al. (Image)

Giant Days, by John Allison, Max Sarin, and Julia Madrigal (BOOM! Box)

MAD magazine, edited by Bill Morrison (DC)

A Perfect Failure: Fanta Bukowski 3, by Noah Van Sciver (Fantagraphics)

Woman World, by Aminder Dhaliwal (Drawn & Quarterly)

Best Anthology

Femme Magnifique: 50 Magnificent Women Who Changed the World, edited by Shelly Bond (Black Crown/IDW)

Puerto Rico Strong, edited by Marco Lopez, Desiree Rodriguez, Hazel Newlevant, Derek Ruiz, and Neil Schwartz (Lion Forge)

Twisted Romance, edited by Alex de Campi (Image)

Where We Live: A Benefit for the Survivors in Las Vegas, edited by Will Dennis, curated by J. H. Williams III and Wendy Wright-Williams (Image)

Best Reality-Based Work

All the Answers: A Graphic Memoir, by Michael Kupperman (Gallery 13)

All the Sad Songs, by Summer Pierre (Retrofit/Big Planet)

Is This Guy For Real? The Unbelievable Andy Kaufman, by Box Brown (First Second)

Monk! by Youssef Daoudi (First Second)

One Dirty Tree, by Noah Van Sciver (Uncivilized Books)

Best Graphic Album—New

Bad Girls, by Alex de Campi and Victor Santos (Gallery 13)

Come Again, by Nate Powell (Top Shelf/IDW)

Green Lantern: Earth One Vol. 1, by Corinna Bechko and Gabriel Hardman (DC)

Homunculus, by Joe Sparrow (ShortBox)

My Heroes Have Always Been Junkies, by Ed Brubaker and Sean Phillips (Image)

Sabrina, by Nick Drnaso (Drawn & Quarterly)

Best Graphic Album—Reprint

Berlin, by Jason Lutes (Drawn & Quarterly)

Girl Town, by Carolyn Nowak (Top Shelf/IDW)

Upgrade Soul, by Ezra Claytan Daniels (Lion Forge)

The Vision hardcover, by Tom King, Gabriel Hernandez Walta, and Michael Walsh (Marvel)

Young Frances, by Hartley Lin (AdHouse Books)

Best Adaptation from Another Medium

Anne Frank’s Diary: The Graphic Adaptation, adapted by Ari Folman and David Polonsky (Pantheon)

“Frankenstein” by Mary Shelley, in Frankenstein: Junji Ito Story Collection, adapted by Junji Ito, translated by Jocelyne Allen (VIZ Media)

Out in the Open by Jesús Carraso, adapted by Javi Rey, translated by Lawrence Schimel (SelfMadeHero)

Speak: The Graphic Novel, by Laurie Halse Anderson and Emily Carroll (Farrar Straus Giroux)

To Build a Fire: Based on Jack London’s Classic Story, by Chabouté (Gallery 13)

Best U.S. Edition of International Material

About Betty’s Boob, by Vero Cazot and Julie Rocheleau, translated by Edward Gauvin (Archaia/BOOM!)

Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu (First Second)

Herakles Book 1, by Edouard Cour, translated by Jeremy Melloul (Magnetic/Lion Forge)

Niourk, by Stefan Wul and Olivier Vatine, translated by Brandon Kander and Diana Schutz (Dark Horse)

A Sea of Love, by Wilfrid Lupano and Grégory Panaccione (Magnetic/Lion Forge)

Best U.S. Edition of International Material—Asia

Abara: Complete Deluxe Edition, by Tsutomu Nihei, translated by Sheldon Drzka (VIZ Media)

Dead Dead Demon’s Dededede Destruction, by Inio Asano, translated by John Werry (VIZ Media)

Laid-Back Camp, by Afro, translated by Amber Tamosaitis (Yen Press)

My Beijing: Four Stories of Everyday Wonder, by Nie Jun, translated by Edward Gauvin (Graphic Universe/Lerner)

Tokyo Tarareba Girls, by Akiko Higashimura (Kodansha)

Best Archival Collection/Project—Strips

Pogo, vol. 5: Out of This World At Home, by Walt Kelly, edited by Mark Evanier and Eric Reynolds (Fantagraphics)

Sky Masters of the Space Force: The Complete Sunday Strips in Color (1959–1960), by Jack Kirby, Wally Wood et al., edited by Ferran Delgado (Amigo Comics)

Star Wars: Classic Newspaper Strips, vol. 3, by Archie Goodwin and Al Williamson, edited by Dean Mullaney (Library of American Comics/IDW)

The Temple of Silence: Forgotten Words and Worlds of Herbert Crowley, by Justin Duerr (Beehive Books

Thimble Theatre and the Pre-Popeye Comics of E. C. Segar, edited by Peter Maresca (Sunday Press)

Best Archival Collection/Project—Comic Books

Action Comics: 80 Years of Superman Deluxe Edition, edited by Paul Levitz (DC)

Bill Sienkiewicz’s Mutants and Moon Knights… And Assassins… Artifact Edition, edited by Scott Dunbier (IDW)

Dirty Plotte: The Complete Julie Doucet (Drawn & Quarterly)

Madman Quarter Century Shindig, by Mike Allred, edited by Chris Ryall (IDW)

Terry Moore’s Strangers in Paradise Gallery Edition, edited by Joseph Melchior and Bob Chapman (Abstract Studio/Graphitti Designs)

Will Eisner’s A Contract with God: Curator’s Collection, edited by John Lind (Kitchen Sink/Dark Horse)

Best Writer

Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

Tom King, Batman, Mister Miracle, Heroes in Crisis, Swamp Thing Winter Special (DC)

Jeff Lemire, Black Hammer: Age of Doom, Doctor Star & the Kingdom of Lost Tomorrows, Quantum Age (Dark Horse); Descender, Gideon Falls, Royal City (Image)

Mark Russell, Exit Stage Left: The Snagglepuss Chronicles, Green Lantern/Huckleberry Hound, Lex Luthor/Porky Pig (DC); Lone Ranger (Dynamite)

Kelly Thompson, Nancy Drew (Dynamite); Hawkeye, Jessica Jones, Mr. & Mrs. X, Rogue & Gambit, Uncanny X-Men, West Coast Avengers (Marvel)

Chip Zdarsky, Peter Parker: The Spectacular Spider-Man, Marvel Two-in-One (Marvel)

Best Writer/Artist

Sophie Campbell, Wet Moon (Oni)

Nick Drnaso, Sabrina (Drawn & Quarterly)

David Lapham, Lodger (Black Crown/IDW); Stray Bullets (Image)

Nate Powell, Come Again (Top Shelf/IDW)

Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Jen Wang, The Prince and the Dressmaker (First Second)

Best Penciller/Inker or Penciller/Inker Team

Matías Bergara, Coda (BOOM!)

Mitch Gerads, Mister Miracle (DC)

Karl Kerschl, Isola (Image)

Sonny Liew, Eternity Girl (Vertigo/DC)

Sean Phillips, Kill or Be Killed, My Heroes Have Always Been Junkies (Image)

Yanick Paquette, Wonder Woman Earth One, vol. 2 (DC)

Best Painter/Multimedia Artist (interior art)

Lee Bermejo, Batman: Damned (DC)

Carita Lupatelli, Izuna Book 2 (Humanoids)

Dustin Nguyen, Descender (Image)

Gregory Panaccione, A Sea of Love (Magnetic/Lion Forge)

Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Best Cover Artist (for multiple covers)

Jen Bartel, Blackbird (Image); Submerged (Vault)

Nick Derington, Mister Miracle (DC)

Karl Kerschl, Isola (Image)

Joshua Middleton, Batgirl and Aquaman variants (DC)

Julian Tedesco, Hawkeye, Life of Captain Marvel (Marvel)

Best Coloring

Jordie Bellaire, Batgirl, Batman (DC); The Divided Earth (First Second); Days of Hate, Dead Hand, Head Lopper, Redlands (Image); Shuri, Doctor Strange (Marvel)

Tamra Bonvillain, Alien 3 (Dark Horse); Batman, Doom Patrol (DC); Moon Girl and Devil Dinosaur, Multiple Man (Marvel)

Nathan Fairbairn, Batman, Batgirl, Birds of Prey, Wonder Woman Earth One, vol. 2 (DC); Die!Die!Die! (Image)

Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)

Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)

Best Lettering

David Aja, Seeds (Berger Books/Dark Horse)

Jim Campbell, Breathless, Calexit, Gravetrancers, Snap Flash Hustle, Survival Fetish, The Wilds (Black Mask); Abbott, Alice: Dream to Dream, Black Badge, Clueless, Coda, Fence, Firefly, Giant Days, Grass Kings, Lumberjanes: The Infernal Compass, Low Road West, Sparrowhawk (BOOM); Angelic (Image); Wasted Space (Vault)

Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

Jared Fletcher, Batman: Damned (DC); The Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)

Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)

Best Comics-Related Periodical/ Journalism

Note: There was a tie in this category

Back Issue, edited by Michael Eury (TwoMorrows)

The Columbus Scribbler, edited by Brian Canini, columbusscribbler.com

Comicosity, edited by Aaron Long and Matt Santori, www.comicosity.com

LAAB Magazine #0: Dark Matter, edited by Ronald Wimberley and Josh O’Neill (Beehive Books)

PanelxPanel magazine, edited by Hassan Otsmane-Elhaou, panelxpanel.com

Best Comics-Related Book

Comic Book Implosion: An Oral History of DC Comics Circa 1978, by Keith Dallas and John Wells (TwoMorrows)

Drawn to Purpose: American Women Illustrators and Cartoonists, by Martha H. Kennedy (University Press of Mississippi)

The League of Regrettable Sidekicks, by Jon Morris (Quirk Books)

Mike Grell: Life Is Drawing Without an Eraser, by Dewey Cassell with Jeff Messer (TwoMorrows)

Yoshitaka Amano: The Illustrated Biography—Beyond the Fantasy, by Florent Gorges, translated by Laure Dupont and Annie Gullion (Dark Horse)

Best Academic/Scholarly Work

Between Pen and Pixel: Comics, Materiality, and the Book of the Future, by Aaron Kashtan (Ohio State University Press)

Breaking the Frames: Populism and Prestige in Comics Studies, by Marc Singer (University of Texas Press)

The Goat-Getters: Jack Johnson, the Fight of the Century, and How a Bunch of Raucous Cartoonists Reinvented Comics, by Eddie Campbell (Library of American Comics/IDW/Ohio State University Press)

Incorrigibles and Innocents, by Lara Saguisag (Rutgers Univeristy Press)

Sweet Little C*nt: The Graphic Work of Julie Doucet, by Anne Elizabeth Moore (Uncivilized Books)

Best Publication Design

A Sea of Love, designed by Wilfrid Lupano, Grégory Panaccione, and Mike Kennedy (Magnetic/Lion Forge)

The Stan Lee Story Collector’s Edition, designed by Josh Baker (Taschen)

The Temple of Silence: Forgotten Worlds of Herbert Crowley, designed by Paul Kepple and Max Vandenberg (Beehive Books)

Terry Moore’s Strangers in Paradise Gallery Edition, designed by Josh Beatman/Brainchild Studios/NYC (Abstract Studio/Graphitti Designs)

Will Eisner’s A Contract with God: Curator’s Collection, designed by John Lind (Kitchen Sink/Dark Horse)

Best Digital Comic

Aztec Empire, by Paul Guinan, Anina Bennett, and David Hahn, www.bigredhair.com/books/Aztec-empire/

The Führer and the Tramp, by Sean McArdle, Jon Judy, and Dexter Wee, http://thefuhrerandthetramp.com/

The Journey, by Pablo Leon (Rewire), https://rewire.news/article/2018/01/08/rewire-exclusive-comic-journey/

The Stone King, by Kel McDonald and Tyler Crook (comiXology Originals) https://cmxl.gy/Stone-King

Umami, by Ken Niimura (Panel Syndicate), http://panelsyndicate.com/comics/umami

Best Webcomic

The Contradictions, by Sophie Yanow, www.thecontradictions.com

Lavender Jack, by Dan Schkade (WEBTOON), https://www.webtoons.com/en/thriller/lavender-jack/list?title_no=1410&page=1

Let’s Play, by Mongie (WEBTOON), https://www.webtoons.com/en/romance/letsplay/list?title_no=1218&page=1

Lore Olympus, by Rachel Smythe, (WEBTOON), https://www.webtoons.com/en/romance/lore-olympus/list?title_no=1320&page=1

Tiger, Tiger, by Petra Erika Nordlund, (Hiveworks) http://www.tigertigercomic.com/

#comic books #Smash Pages #eisner awards #graphic novels #webcomics

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