#there's also such a wider range of expressions i can make icons from in the anime

[carluex-carplay]

Reliable CarPlay AI Box USB Adapter 2024 CARLUEX Pro Upgraded UNBOXING REVIEW Video Review

Hey guys, let's take another look at how Schaz reviewed the CARLUEX Pro Plus.

In the latest review video, Schaz provides an in-depth look at the Pro Plus Upgraded AI box mod, a product from a well-known car brand. Having previously tested the original Pro Plus model on his channel, he expresses his satisfaction with its performance and highlights the enhancements made in this upgraded version. The most significant upgrades include increased RAM and internal storage, while the remaining specifications remain consistent with the previous model.

Schaz notes the device's compatibility with both iPhones for wireless Apple CarPlay and Android devices for wireless Android Auto functions. He emphasizes the importance of features like split-screen functionality and mobile screen mirroring, which enhance the overall user experience. These features will be discussed in the upcoming introduction.

One of the standout aspects of this device is its versatility; it can be used in cars without a touchscreen by connecting an air mouse or keyboard remote control. Schaz mentions, "This adapter will turn your screen into a tablet or a smart TV where you can download and install apps from the Play Store on the screen of your car." This feature is particularly appealing for users looking to modernize their car's entertainment system.

During the unboxing segment, Schaz reveals the contents of the box, which includes a standard user guide, a thank-you card, and a cable for connecting the device to the car. He explains, "Most cars have this type of connection, so you can use this cable," while also noting that a Type-C converter is necessary for some vehicles. Although the contents are minimal, Schaz clearly articulates the purpose of each item.

The design of the CARLUEX Pro Plus Upgraded closely resembles its predecessor, with the only notable difference being the upgraded RAM and internal storage, which has increased from 32GB to 64GB. The exterior features LED indicators that light up when the car is switched on, and users can customize the colors to their preference, including blue, red, green, or rainbow options. Schaz remarks, "It looks quite nice at night."

When testing the device's performance in his car, Schaz uses a stopwatch to measure the startup time. He notes that it takes approximately thirty seconds to reach the main home page of the Android system, with the entire system loading efficiently. He describes the user interface as "very nice and clean," with large, responsive icons that make navigation easy. Of course, this is just the first time entering the system. When you enter for the second or third time, you will experience its quick startup.

Schaz also explores various applications, demonstrating how quickly they load and function. He plays a video and mentions, "The good thing is that this device is connected to the sound system of my car, so I can use the steering wheel controls to operate it." This integration adds convenience and enhances the overall driving experience.

CARLUEX Pro Plus Upgraded is designed to work with both touchscreen and non-touchscreen vehicles. For cars without a touchscreen, Schaz suggests using a Bluetooth air mouse remote control, stating, "It's highly recommended to use this type of remote control." This flexibility makes the device accessible to a wider range of vehicles.

As the review progresses, Schaz tests the navigation app, quickly finding a gas station location. He appreciates the voice guidance feature and notes that the navigation system works seamlessly. Another highlight is the split-screen function, which allows users to run two applications simultaneously, such as playing YouTube while navigating.

Schaz also discusses the device's internet connectivity options, explaining that users can either insert a SIM card or connect to a mobile hotspot. He emphasizes the simplicity of connecting to the internet, making it easy for users to access streaming services like Netflix and Spotify. He mentions, "You just need to go to the app and log into your account to see your account details and playlists," reinforcing the user-friendly nature of the device.

With ample internal storage and the ability to add more via a memory card, the Pro Plus Upgraded accommodates a variety of applications, including popular streaming services like Amazon Prime Video and Disney+. Schaz highlights the connectivity options, allowing users to connect their mobile devices for Bluetooth calling and music playback.

Schaz's review of the CARLUEX Pro Plus Upgraded AI box mod is thorough and engaging. His enthusiasm for the product is evident, and he provides valuable insights into its features and functionality. The combination of increased storage, versatile connectivity options, and user-friendly interface makes this device a compelling choice for anyone looking to enhance their in-car experience. Schaz's expertise and clear explanations make this video a must-watch for potential buyers considering the Pro Plus Upgraded.

Overall, Schaz's videos are all about professional reviews, and he takes product evaluation very seriously. If you're interested, you can check out his channel to see his videos.

[noisycowboyglitter]

"Autism Spectrum Merchandise: Apparel that Celebrates Diverse Abilities"

"I See Your True Colors Autism" is a powerful phrase that combines autism awareness with acceptance and celebration of neurodiversity. It draws inspiration from Cyndi Lauper's hit song "True Colors," applying its message of embracing individuality to the autism community.

Buy now:19.95$

This phrase acknowledges that individuals with autism may express themselves differently, but their true essence - their "colors" - are beautiful and valuable. It emphasizes looking beyond societal norms or expectations to appreciate the unique qualities and perspectives of autistic individuals.

The statement serves multiple purposes:

Acceptance: It promotes embracing autism as a natural variation in human neurology.

Understanding: It encourages others to look deeper and understand autistic individuals' authentic selves.

Empowerment: It validates the experiences and expressions of people on the spectrum.

Awareness: It raises consciousness about the diverse ways autism can manifest.

"I See Your True Colors Autism" challenges stereotypes and misconceptions about autism. It reminds us that autistic individuals have rich inner lives, unique strengths, and valuable contributions to make to society.

Buy now

This phrase could be used in various contexts - on t-shirts, posters, or social media campaigns - to promote autism acceptance and celebrate neurodiversity. It offers a positive, affirming message for autistic individuals and their allies, emphasizing the beauty in diversity.

Autism Awareness colors are primarily associated with a spectrum of blues, particularly a vibrant royal blue. This blue has become the iconic color for autism awareness campaigns worldwide. The color palette often includes puzzle piece designs, symbolizing the complexity and diversity of autism spectrum disorders.

In recent years, the color scheme has expanded to embrace a wider range of hues. Gold has gained popularity to represent the value and importance of neurodiversity. Some advocates use a rainbow of colors to reflect the broad spectrum of autism experiences.

Buy now

Red is sometimes used to symbolize challenges and passion, while yellow represents hope and positivity. These colors appear on ribbons, clothing, and various awareness materials, serving to promote understanding, acceptance, and support for individuals with autism and their families.

Halloween gifts are fun and spooky treats given to celebrate the festive October holiday. These can range from candy-filled goodie bags to themed decorations or accessories. Popular options include festive socks, Halloween-themed mugs, spooky candles, or seasonal home decor items.

Buy now

For children, Halloween-themed books, costumes, or small toys are common. Adults might appreciate Halloween-inspired cocktail kits, gothic jewelry, or horror movie collections. Edible gifts like gourmet candies, themed baked goods, or specialty Halloween chocolates are also popular. Whether cute or creepy, Halloween gifts add an extra touch of excitement to the spooky season.

[mi6021miakillackey]

Character Design - what can be said?

As I have my own personal interest in character design and potential desire to work within this field, I want to look deeper into this area of animation/ pre production aspect of film, game and thing making.

I have had some thought on what character designs, concepts and representations convey to a wider audience and how it can be used to shift a perception of a gender, race, culture etc of real people outside of media. One of these I wanted to look upon in this final project was the designs of female characters in juxtaposition to male characters - why there seems to be less range with designs of girls and women than there is with men and boys - for example how small the margin is for what is "acceptable" or "desirable" of a feminine concept of a character, with majority of them having a slim figure and a "pretty face".

The elements that make them seem to fit a very niche, westernised view of what a woman should look, talk, move and behave like - and we have a lot of characters, old and new that support this.

A good example would be Daphne and Velma from the children's television cartoon Scooby Doo - we have Velma, an intelligent, rigid character whose design has embodied her whit as well as a lack of concern with male attention by making her look "less attractive' by giving her freckles, squared man-like glasses, a frumpy sweater that conceals her less defined figure and no makeup.

Then Daphne who we know to have a romantic interest in Fred, a handsome dimwit. Her design is polar opposite to that of Velma's, she is slim and curvaceous, she wears heels and adorns makeup, a stylish vibrant head of curled locks and feminine aspects to her outfit like a headband and classy scarf. This is a deliberate choice of designs and representation for these two women - but also ingrains into viewers what a woman who is smart and self focused looks like, compared to what a woman who is more self centred and concerned with looks and romantic interest looks like.

Then we have a figure like Jessica Rabbit from the movie Who Framed Rodger Rabbit - all of the characters express their disbelief towards her marriage with Rodger, a significantly "less attractive" character than Jessica, depicted as a sultry, sensual woman much like that of Marilyn Monroe - the picture of sexual desire and lust - a teeny waist, long toned legs and small heeled feet, plump red lips, big prominent breasts, low and seductive "bedroom eyes", and a head of luxurious curled red hair. she is an icon of sex within everything she does, and knows it "I'm just drawn that way"

But why is the focus mostly pinned upon the woman figure to uphold these impossible body and beauty standards as well as how they should behind and present themselves?

In the gaming world - the same patten is presented.

Lara Croft has always been another sex symbol used for male satisfaction in the games - with her wildly inappropriate outfits for the life and environments she is placed in and her strangely unscarred skin on a swimsuit model body - it would make sense for her to be more clothed and covered in action and to have a muscular, perhaps less "feminine" body type indicating her great strength.

A character from a much more recent game, 2020, would be Abby Anderson from the game The Last Of Us part 2 - a strong, deeply complex character who while beautiful and feminine in her own way (as all women are) is designed to suit her environment and willingness to survive in the harsh reality in which there is no escape to. This design was rejected and criticised by a lot of fans and players of the game upon release and to this day nearly four years on - majority of these rejections came from male players who found her design "disgusting" and some going as far to call it an abomination.

But here we have two very strong female characters in all aspects of themselves and yet their designs couldn't be more different.

I have looked at a few studies done on this matter that I will be including in my dissertation to support my question and argument, but I want to use this to question if I fall into this category also, am I representing women in a diverse progressive way? what can I change about my approach to designs if not? does there need to be a change? why is it important to show a variety of forms and details within characters?

I decided to do a little sketch of a concept of Cordelia - thinking of more range with body proportions and colour palettes that could work. I will stick with my previous design of her however I think because I like how she looks and her shape/clothing is easier for me to keep consistent I would say.

but I like exploring more designs and coming up with a wider range of ideas for characters. representing different body types and styles really matters to me personally.

[private-story-names]

Snapchat Story Mastery: Unleashing the Power of Best Practices

As among the most common social networks, Snapchat allow users to share their memories and tales through creative graphics. It's essential to learn and put into practice the right practices that can elevate your stories from usual to wonderful if you want to truly learn the art of Snapchat storytelling. In this article, you will learn effectiveness of standards and provide you with practical guidance on how to up your Snapchat story game. Set to let your ideas run crazy and wow your audience like never before!

I. The Basics of Snapchat Stories

Understanding the concept of Snapchat stories

How to create and share a Snapchat story

Utilizing features like filters, stickers, and captions to enhance your stories

II. Best Practices for Engaging Snapchat Stories

Producing Engaging Content

Using storytelling to captivate your audience

Authentic material enables you to display your personality

Using popular issues and problems

Aesthetic Appeal

taking excellent pictures and videos

Filtering and augmented reality effects testing

Emojis, stickers, and drawings are used to enhance creativity.

Flow and Structure of a Story

constructing a unified storyline for your tale

Making use of overlays and transitions to improve the flow

Pacing your content carefully for maximum impact

III. Snapchat Private Stories

The purpose of Snapchat private stories is explained.

How to write a personal tale

Launch Snapchat and navigate to the camera screen

Tap the profile icon in the upper left corner

Select "Private Story" and add the required contacts

Adjust the privacy settings and give your private story a name

Start sharing information only with the added contacts

In your Snapchat story the story name is a main thing. With the name you can attracts viewer to your story. So adding a name is also that much affective. Here grab some private story names for your Snapchat stories

IV. Strategies for Business and Personal Branding Through Storytelling

utilizing Snapchat stories to promote a brand

involving your audience by telling behind-the-scenes tales

working together with influencers to expand your reach

V. Increasing the number of Snapchat users

using other social media channels to advertise your Snapchat account

enticing readers to share and respond to your content

collaborating with other Snapchat users to promote each other's pages.

Snapchat new features.

Snapchat has introduced some exciting new features that enhance user experience and allow for more personalized and interactive storytelling. One such feature is Snap Map, which lets you share your location with friends and see where they are in real-time. With Snap Map, you can discover events, find new friends, and even explore popular spots around the world, adding a whole new level of excitement to your Snapchat adventures.

Another captivating feature is the enhancement of Bitmoji, which allows you to create a personalized avatar that mirrors your looks, style, and expressions. With the recent updates, Bitmoji now offers a wider range of customization options, including new hairstyles, outfits, and accessories, allowing you to truly bring your digital persona to life and express yourself in a unique and fun way.

These new features not only make Snapchat more engaging but also enable users to connect and share moments with friends in innovative ways. Whether you're embarking on virtual adventures through Snap Map or expressing yourself with your customized Bitmoji, Snapchat continues to evolve, offering exciting features that enhance your storytelling and make your social media experience even more enjoyable.

Summery:

Crafting memorable experiences that deeply resonate with your audience is a fundamental element of mastering the art of Snapchat storytelling. By following the proven techniques in this article, you'll be able to make viral your stories. Grab your smartphone and share your story now. Thank you for reading this article.

[kicksaddictny]

Adidas Launch New Label, Sportswear, With Actress, Advocate, Producer and Style Icon, Jenna Ortega

According to Adidas

Born from sport worn for style, today adidas reveals an all-new label – adidas Sportswear. Complementing the brand’s Performance and Originals labels, the new line aims to level up the wearer’s everyday look via a range of fresh fits that use the latest performance technology to bring the same comfort and confidence to the everyday, as its performance collections have been for athletes, for decades.

Global superstar, Jenna Ortega, makes her adidas debut fronting the all-new label and its Spring Summer 23 collection. Cementing herself as a next generation icon; often seen moving through the heart of culture with style, passion and purpose, unapologetically expressing all that she is and all that she stands for.

Actress, advocate, producer, style icon, plus so much more, Jenna is a true reflection and champion of individualism and versatility – aligning perfectly with what adidas Sportswear has been designed to embody and aptly symbolizing how the next generation is showing up in the world.

Speaking about her experiences and involvement, Jenna Ortega shared: “The way I express myself, whether this is vocally or aesthetically, is something I personally put a lot of energy into as I know how much power it can have in inspiring others. Embracing all that I am and all that I stand for continues to be a journey and through new experiences, I am learning and discovering more sides to myself. I am huge advocate of expressing all your different pursuits, passions, and traits, whether that is through what you do, what you wear or what you champion – which is why I was so excited to work with adidas on this new label.”

Sporty in essence, the adidas Sportswear collection offers specific performance technologies through simple cutlines, colorways and stripped back design details, with comfort running through its every fiber. Curated to serve the next generation during multiple moments, as they tackle the sport of life, each iconic piece can be remixed to create a unique look or remain a subtle yet striking fit if worn as is.

Marking the label’s debut drops, AVRYN and Tiro Suit take center stage, the perfect on-point aesthetic and uniform for kicking back with friends, heading to practice, or exploring the city for the weekend. Key details include:

Tiro Suit Collection: Reimagining adidas’ iconic tracksuit silhouette with a deep heritage in football, the Tiro Suit translates sport design cues specifically for Sportswear. Fronting the collection, the all-black timeless co-ord - Tiro Suit Up Advanced – remains sporty at its core but takes on a new identify, as the classic 3- stripe set brings functionality to the fore whilst maintaining a minimalistic look. With the potential to create a variety of fresh looks, Jenna Ortega remixes it by pairing with a shirt and tie for her on-set moments but then switches it up with a gold sequinned crop for an evening out with friends.  

AVRYN: Made in part with recycled materials, the shoe also fuses BOOST and BOUNCE technology in a new way to offer comfort both inside and out. This AVRYN drop includes two colorways, a muted two-tone black and grey with minimal red detailing, as well as all-grey version with black signature 3-stripes complete with purple accent, origami inspired finishes and an exaggerated heel tab, AVRYN provides a fresh and versatile look and feel, making it easy to pair across a number of everyday looks.

From muted colorways to bold prints and stand out ensembles, the wider collection also features a silk-like striped Express Dress, which takes all the design elements of a wrap style silhouette, remixed with boasted collars and soft, comfortable ribbed cuffs. Whilst striking when worn alone the tie front fit can also easily be subbed in as a lightweight jacket and layered over a basic ensemble. Meanwhile, the relaxed fit Express Jersey is inspired by a 90’s football aesthetic with a two-tone colourway and offset white piping with a comfy casual fit. Jenna wears the long-sleeved pullover with matching purple Tiro Suit Up Advanced Trousers for a co-ordinated and comfortable fit as she makes her way to set. Finally, the sport style Coach Jacket comes in a classic monochrome colour scheme, but with an oversized fit and shine-finish fabric to give an added level of style and comfort. Cuffed sleeves with 3 stripe detailing and oversized collars add subtle contemporary touches to the piece.

Speaking about the new label, Senior Designer, adidas Sportswear Jasmin Bynoe at adidas, said: “Expertly blending sport silhouettes with fresh detailing, adidas Sportswear brings together adidas’ latest performance technologies and comfort-first looks to elevate the wearers’ everyday style. We are so excited that Jenna has joined the adidas family and will be fronting the label, as the new line is a true celebration of self-expression and individualism – aligning perfectly with all that she stands for. Offering a range of pieces that can be used as a blank canvas for each wearer to pair and style as they see fit, we paid close attention to incorporating specific cutlines, colourways and stripped back design details, so that the collection works no matter what the wearer’s day looks like.”

Alongside Jenna Ortega, the campaign will also see a wider collective of adidas partners coming together to celebrate a comfort-first mindset and the power of self-expression, including Premier League current golden boot holder and music lover Son Heung-min, professional basketballer, off-court sketching enthusiast and self-care advocate Trae Young, Women’s Super League forward and nature lover Mary Fowler and renowned gamer and thrill-seeker Carolina Voltan.

Reflecting on the new campaign, Trae Young shared: “My everyday life is shaped around being a professional athlete and fearless competitor on the court - staying focused, competitive, and driven at all times. But I’ve learned to really embrace the quieter moments. Self-care and leaning into my art help me to recharge during my downtime off the court - helping me give the game all I’ve got. The Tiro Suit is ideal for me when I am off duty as I can use it as a base layer, levelling it up with a contrasting green checked golf-inspired top for days on the green, but also stripping it back with a gold chain layered over a basic white tee for those times where I need more of a toned down, effortless look.”

Reflecting on the new campaign, Son Heung-min shared: “Whilst my day-to-day focus is shaped around my performance on the football pitch, whether that is for my club or country, I also love to spend time enjoying my other hobbies. Whether that’s gaming, fashion or music, each of these allow me to keep a fresh mindset, helping me maintain my competitive edge. These different areas of my life also mean I need wardrobe staples with versatility, which is why I am such a big fan of adidas’ new label, Sportswear – it really is the perfect blend of sport, style and comfort!”

adidas Sportswear’ will launch worldwide from February 9 on the adidas website, in stores and via the adidas app, with early access available from February 2.

[weirdmarioenemies]

Name: Podoboo

Debut: Super Mario Bros.

Before I start this post, I’d like to clear something up. Podoboo? Yes, Podoboo! I’m well aware these enemies are often called Lava Bubbles and that’s the name Nintendo has been trying to make standardised these days, but you know what? You can’t make me! Podoboo is a lot cuter, plus its the name I grew up with and changes in society scare me and cause me to lash out! Maybe Lava Bubble is closer to the Japanese name of just “Bubble”, but since when has that been a factor in any of the localised names? Do you really want to refer as Lakitu as “Jugemu”, huh? I’ll have you know one of my civil rights as a citizen of Wet Dry World is to refer to Mario enemies with whichever official name I please. Like it or leave it!

So this is a post about Podoboo. Do you like Podoboo? I certainly Podo-do! They are perhaps the most generic design you could give to a Mario enemy, a visibly Dangerous Thing with two eyes, but they have always charmed me! It’s the little things, like their distinct shape and the fact their pupils are somewhat wider than most obstacles like this. They bring me comfort in dire times. No matter what happens, I know Podoboo will be there, jumping at a set height in a particular spot of lava! Without them I would be nothing! 

So simple is their design, isn’t it weird to think they started off as even simpler? The Podoboos in the first SMB game are completely blind, and with no eyes they may as well not be creatures at all! Of course, I’m very glad they are creatures, and their iconic behaviour was there from the start! They love to jump, of course! There is nothing they would rather be doing!

Awaken! As of Super Mario World, they have been gifted sight and are no longer blind to the sins of this world! Hurray! What do you think they see as they jump up and down? I’m surprised it doesn’t make them dizzy!

You’ll be glad to hear Podoboos have had an expansive career ever since, now with their new trademark eyes! After all, they are THE lava enemy! Anywhere you’ve got that tasty hot fire juice, these guys are soon to follow! Here they are in Super Mario RPG, called Sparkies here because they couldn’t make up their minds on a localized name and probably because they confused them with Li’l Sparkies. In Yoshi’s Story they even called them Spark Spooks! Geez, I’ll even take the name Lava Bubble over this! But doesn’t this render look nice and juicy?

Though any great career has its flops, and I have to say... I am usually the first to campaign for the unique designs from the first three Paper Marios, but I do not really like this Lava Bubble! This takes away from their distinct Mario-y charm and makes them look like a Fire Enemy you could find in any other game! Though in the RPGs they are able to float around without needing any lava, the ones in Super Paper Mario act just like the platformer ones, jumping around despite not looking like they should be doing that! Ok!

The Podoboo from New Super Mario Bros. DS just wasn’t trying very hard at all. Come on! They could’ve it a bit more justice than this! 

Ah, there we go! The Podoboos in New Super Mario Bros. Wii decided to finally stop messing about and go back to what everyone loved from them in Super Mario World. I encourage experimenting with your identity, of course, but it’s good to be back, and now they are more mortal than ever! A single shot from an Ice Flower is enough to instantly vaporize a Podoboo in a puff of smoke, which is a bit scary! Are they really just pure fireballs that can be put out just like that? What a frightening life to live!

And in Super Mario Galaxy 2, they... hey, wait!! You took away their eyes again! Now you are just being inconsiderate. This outraged me as a kid! One of my most vivid memories of playing this game with my brother involved chanting “Podoboo rights! They deserve eyes!” because this upset me so much. Maybe my past as an activist is why I am so passionate about Mario enemies these days... I think I was 100 percent correct in hindsight, and now you know some of my backstory, too!

What relief it gave me to find out they were back to their usual selves in 3D Land! And they have been ever since, of course getting redesigned for the modern Paper Mario games and everything. 

What’s this? Blue Podoboos! Podo-blues, even...! They show up in 3D World, in its incredibly cool-looking blue lava levels! It’s a well known fact that blue fire is objectively cooler than red fire, and it seems even the Podoboos wanted in on the action! Blue Lava is an actual phenomenon I’ve just learnt, though it’s a sulfuric fire rather than lava. Could it be that Podoboos, being made entirely of lava, adapt to their environment? I’m not sure...

As an aside, the blue Lava Bubbles aren’t to be confused with Lava Bubble (Blue), which are from Mario Galaxy and show up during King Kaliente’s fight! They hop around on the ground and have square-ish eyes, which is enough to make them different I guess!

The Podoboo’s next big appearance, in Super Mario Odyssey, was in Soup! Yes you heard me- Soup! Some delightfully pepto-bismol pink coloured soup, no less. This is why I wasn’t too sure about Podoboo’s being able to adapt to their environment earlier- the Luncheon Kingdom is a big soup volcano after all, but the fact these Lava Bubbles are able to live in it is very interesting!

There is simply no way I would talk about Odyssey here without talking about possibly its greatest achievement, the best game design decision ever made! After decades of begging from fans, they finally did the impossible- they made Podoboo playable! Now it is Podo-you! It is quite unlike the other captures in the game, since it keeps the Podoboo’s simple-looking eyes and simply adds onto it a nose and a mustache! You may very well be the world’s first Podoboo with a sense of smell! I wonder if that is a benefit or not. The constant smell of soup might be a bit overpowering. 

Not only is this delightful, but it gives us more insight into the life of the humble Podoboo. First of all is the fact that they can swim around in lava, not just jump in one spot! Do you think they do this when we aren’t looking? I really hope so! Imagine a school of Podoboos swimming through molten lava in a castle’s moat. How delightful! 

The Luncheon Kingdom is also home to a number of Lava cannons, marked with a Podoboo’s lovely face. These are cannons for only for Podoboos to launch themselves across the kingdom, from one body of lava to another! My question is whether this was technology made by Podoboos themselves or whether it was made by some generous Podoboo lovers as some lava equivalent to the Fish Tube. I think I would take either explanation! 

And last I have a Podoboo appearance that even I, the world’s biggest Podoboo fan, didn’t know about! Paper Mario Color Splash has a Big Lava Bubble boss which speaks with you through a Shy Guy translator! It is quite upset that you barged into its volcano and decided to change the temperature. Mario, of course, kills it anyway, and also the Shy Guy translator without a second thought.

Still, just take a look at this sprite sheet! How cute! A little disappointing that they thinned out the eyes, but wow! They more than make up for it with this range of expressions! An angry Podoboo! A sad Podoboo! And my personal favorite is of course the shocked Podoboo with its assymetrical dot eyes, which might be one of the best things I’ve ever seen. 

To be honest, I could talk about Podoboo forever! If you didn’t stop me, I would go on all day about their every appearance, but I kind of had to limit myself to some of the most relevant ones. I just think they’re neat! And cute! And silly! Besides, I’m Mod F Boy, so I’m basically obliged to talk about fireballs with eyes! But for now I must bid you Pod-adieu! 

...Not! What, did you really believe me? Well you clicked the Keep Reading button, so you only have yourself to blame for this. Here I am talking about more Lava Bubbles from all over, because Lava Bubble’s career has taken it BEYOND the Mario series! Wow!

Podoboo’s had quite a few appearance in the Zelda series, appearing in Link’s Awakening, both the Oracle games, and even Cadence of Hyrule! Their Zelda wiki page is still called Podoboo instead of Lava Bubble, which means those Zelda fans have it better than we do. But wow, this is a pretty angry looking Podoboo! I wouldn’t mess with them! 

Both the Oracle games even had a Podoboo Tower! Amazing! They look quite a lot like a Fire Snake, but they are simply a tower of Podoboos! Why don’t they do this more often?

Hm... The Cadence of Hyrule one doesn’t have any eyes. Come on guys! It’s 2019! Podoboos having eyes should be standard! Though they still made the conscious decision to call them “Podoboos” in 2019, so I can’t be too mad. 

And they have even spread to Minecraft! In the Mario Mash-up Pack, they replace the Magma Cube enemies, and really there was no better choice for this. And now we have a Podoboo Cube! What more could possibly be left for Podoboo?

The answer is obvious- Podoboo in real life! Thanks to a certain Lego Mario set, Podoboo is now real and can be in your home for the small price of 19,99 US dollars. Please give a Podoboo a home today! Just make sure you don’t own anything flammable. 

[ruvatia]

Sorry if this is a bit much with everything going on, but could I request a scenario where the Paladins + Matt & Lotor have a black s/o and they’re scared abt everything that’s happening in their country and are sad that racial injustice is happening? I’ve been rlly worried the past few days, but if this is smth too uncomfy I understand ;w; Thank you 💖💖💖

This got really long, I apologize but I turned it into half-headcanons with just the main paladins-- i apologize for not doing all the characters you’ve mentioned, but I don’t think they would fit all in a single post anyways www

On another note I hope you and every other reader take good care of their mental health; it’s important to be aware of what’s going on but it’s also important to be in the right mindspace to be able to tackle everything that’s being shared. It’s pain that’s been boiling for a very long time and there is absolutely no shame in taking some downtime to recover before heading back into current issues.

SHIRO:

If you were saddened, Shiro would suggest that maybe you switch to something else; if there was something that he knows will distract you and temporarily have you be a little more at ease, he’d do that!

But also maybe add a little twist-- extra soft blankets (fresh out of the oven! Screw the bills you’re worth it), extra cheese on your favorite dish, whatever it is that can make your smile a little wider, bigger or brighter just let him know!

Would give you hugs if you asked, but usually Shiro pets your head and brushes your cheek for comfort

He also does this when he wants to ask something of you, but thats another story

Why the TV was still on was a mystery to you, you’d stopped listening a long time ago. Your partner besides you noticed, and you felt the hand around your shoulder tighten his grip a little, bringing you out of your thoughts.

“Hey, maybe we should watch something else?” he asked softly, brushing your cheek with his hand. “I can’t really listen to this anymore.”

“Yeah… Sure.” you replied, though it felt like an automated response more than your actual opinion.

“Okay, I’ll switch to that weird show Pidge recorded the other day, we agreed to watch it, right?” he replied, quickly grabbing the remote to change the program.

The first episode started playing, but the moment that it did, you felt cold as Shiro left your side.

“Where are you going?” you asked, your interlaced fingers the only thing keeping him close.

“Ah, I thought I’d make us something. We both kinda skipped dinner….”

He’d thought about putting something together that you’d like, maybe order dessert to surprise you but seeing the look on your face, leaving your side was the hardest thing to do right now.

So he gave in, and your both fell asleep until the doorbell rang with your delivery.

KEITH:

I have this headcanon that Keith isn’t very good with physical touch but after the end of voltron and after enough time of humanitarian relief, he learns how important it is for someone that’s in a specific state of mind

So the best he has to offer when his words fail is physical touch

Over your time together he’s learned what you need depending on your mood, and it helped him out lots when you were more vocal about it-- if anything he liked it when you asked for things that he could easily deliver, he’d do anything to see you smile

A hand came over your phone screen, Keith’s fingers lacing into yours and making you drop the device onto the crevices of the sofa.

“Why did you--”

“You’ve been staring at that thing for the past hour, biting at your nails.” he said in a worried tone. “That’s enough. We’re going to bed.”

“But it’s just--”

“We’re going to bed.” he repeated in a harsher tone, lifting you off your seat.

Keith sat down onto the bed first, pulling you into him. You both fell onto the bed, Keith quickly pulling the covers over your shoulders before his arms came around you.

“My alarm is my phone.”

“That’s nice, but we both know we have nothing to do tomorrow.” he replied right away, making you chuckle.

“Keith…” you called, your hands sneaking up to his face.

You brushed away some of his hair from his face as he gave you a complicated expression, unable to reflect the small smile you wore. He knew things were shit outside, that being apart from your family and other loved ones was a toll on both you and that lately negative thoughts have plagued you more often than not but Keith, despite his good intention was still somewhat of an awkward man.

“Thank you.”

He kissed you in reply and you both left it at that, glad that he had someone like you to meet him halfway.

LANCE:

Lots of hugs the moment he feels something is off with you

Will be a brat™ for the sole purpose of distracting you, bET

I feel like post-series Lance tries his best to be as observant as Allura and tries to understand others better-- but it didn't take a genius or incredible empath to know why your eyes looked like they were about to overflow at the sight of the news.

I’d like to think that Lance, with a big connected family is one of the paladins that very easily gets what you’re going through, wouldn’t be surprised he’s been called one or two things in his past either

That being said it doesn’t mean that he completely understands your personalized struggles with racial injustices that you encounter everyday; as another minority himself + coming from a culture and upbringing that might be different than yours, its a very different experience.

Memories flooded as the news anchor spoke about “lootings” and as you scrolled down your feed to see feeble attempts at sympathy from local peacekeepers. You sigh and retweet another thread, only to find something equally as shocking right after. You stopped commenting in quote retweets a while ago, you felt like you were constantly repeating that none of this was okay and that a reform was desperately needed. Rather than typing out your thoughts you typed out your name, address and email over and over again, signing one petition after the other.

Hearing sigh after sigh, Lance eventually put an arm around your shoulder. He startled you, but his soft voice made both your shoulders and your guard lower.

“Hey, do you want to make a midnight snack with me? I’m getting kinda hungry.”

“What about that new rule we were talking about? Not eating 4 hours before we went to bed?”

“Every diet has one or two cheat days, don’t they?” he replied, kissing one of your eyelids. “Come on, I’m sure your neck is sore from being like that for so long.”

In the end you both made some soul-food until a food-coma knocked you out until tomorrow. In the morning, you realized that Lance must’ve woken up in the middle of the night because you remember cuddling on the couch, and yet you’re waking up on the bed. Of course, still in his arms.

HUNK:

Having a sensible heart, I feel like both you and hunk would struggle a little about maintaining a healthy distance with current events.

Though overtime he would understand that keeping in touch with everything that’s going on is important, but not at the sake of burning out

His best bet, to him, to pull you out of a such a dark space is with comfort food

“Ok ppl feel like they want to eat a horse but they actually cant when they’re in that mind space Hunk, let’s make something sweet and small; something direct and straight to the point! Let’s add smiley faces on it!”

Your turned down the volume from the news, let your head fall backwards and brought up your forearm over your closed eyes. It felt warm and made it you realize that you had probably been staring very intensely at the screen as a wave of comfort hit your eyes the moment they were drowned in darkness. Letting out a deep breath, you stilled and let yourself bask in your thoughts until a familiar voice brought you back.

“Maybe a little bit more sugar? No, then it would be disbalanced. The base is already so sweet-- Ah, I have to take the cupcakes out or else they might get burned!”

You felt a smile grow on your lips, making you ignore the horrid news being broadcasted to turn to your partner that as usual, seemed to juggle ten thousand things to create a whole meal.

“What’s going on over here?” you asked, leaning over the counter to note that one of your favorite dishes was made and machines that were mostly used for baking had been brought out.

“Oh you know, just a little pick me up for my most favorite person ever.” he shrugged, but a smile soon came to his face. His hands were full but he leaned over, his lips meeting your cheek. “Things outside are a little dark, so I thought we could both use a little something nice.”

He turned on the machine after dropping a drop of dye to make it your favorite color and within a few minutes the icing was finished. Hunk scooped up a small amount on his finger and brought it to his lips and nod.

“Wanna taste?” he asked you, his finger dipping into the icing.

A mischievous grin spread on your features as you took his wrist and let his finger fall on your tongue, the sweetness quickly spreading through your mouth. The yellow paladin shivered as you let his digit hang in your mouth for longer than necessary, letting out a satisfied hum when you returned it to him.

“Tastes perfect.”

PIDGE:

She knew what could be fixed, she knew how to fix it but this meant she was also aware of how long such a transition would take

I think Pidge would be similar to Shiro: whatever she remembers that helps you be at ease, she would defect to that in hopes to maybe distract you for a while.

I don’t think Pidge is a very touchy person either, so if she reaches out to you _physically_ in worry, it’s a very clear sign she’s serious/anxious

I feel like she would reach out in other ways and then if she knew you were in a specific state of mind where touch was not useful, or if she just also wanted to try things out lol

As you watched the twisted information that was being shared on screen, another message caught your attention. Rather than a small red icon in the corner, a small window appeared in the middle of your computer screen.

<I found a way to modify notifications sent to another device.>

The video had stopped, every horrible gif about police brutality was paused and there was nothing else but the small window pidge had thrown onto your screen. You chuckled, and felt a pressure behind your working chair.

Another message popped up.

<You’ve been catching up with twitter for the past two hours. Surely you’re done now?>

A soft laugh came from you, making Pidge release a breath she didn’t know she was holding. You typed out an answer:

<Is it possible to be completely caught up with twitter? I follow like 500 accounts.>

<Okay, but half of them are just cat videos and the other half are just retweets of said videos.>

<Oh here I was thinking that this was an intervention to brighten my mood. We’re dragging each other’s follows now?>

<Oh please like you don’t want to be dragged, with that kind of follow list.>

<I can’t believe you’ve done this.>

You both laughed, before Pidge turned around and tapped your shoulder. She let her hand float in the air, yours coming to join it as a soon as your turned her way.

“Wanna take a nap?” she asked, letting her head fall onto your shoulder. “I had Chip make some hot chocolate, Hunk style.”

You squeezed her hand, putting your computer on sleep mode.

“Yeah, that sounds nice.”

[jeremystrele]

Seven Local Kids Design Brands We Can’t Get Enough Of!

Seven Local Kids Design Brands We Can’t Get Enough Of!

Shopping

by Amelia Barnes

Selection of V. Happy Co Alphapics Prints in A2 and A3. Plant and planter by Ivy Muse. Lockers by Mustard Made. Floor cushions by Sage x Clare. Taco by Make Me Iconic. Bag/key tags by V. Happy Co. Burger greeting card on locker by V. Happy Co. Photo – Amelia Stanwix. Styling – Paige Anderson. Art direction – V. Happy Co

V. Happy Co Alphapics Letter G Print + Letter C Print. Timber bed by Plyroom. Bed linen and Mathilda Crochet Cushion by Sage x Clare. Locker by Mustard Made. Wire basket on top of locker by Mustard Made. Letter B Bag Tag (on locker) by V. Happy Co. Oval Play Mat in Sage by jnr.life. Hot Chips Tall Lunch Bag by Doo Wop Kids. Floor cushions by Sage x Clare. Photo – Amelia Stanwix. Styling – Paige Anderson. Art direction – V. Happy Co

Letter B Print by V. Happy Co. Plyroom Ava Cot. Plyroom Dedo Wooden Storage Box. Linen and cushions by Sage x Clare. Mustard Made ‘The Shorty’ Locker. Doo Wop Kids Trucks Tall Lunch Bag. Plant and planter by Ivy Muse. jnr.life play mats and shapes. Letter A Bag Tag by V. Happy Co. Make Me Iconic Healthy Tummy Brekkie. Photo – Amelia Stanwix. Styling – Paige Anderson. Art direction – V. Happy Co

Whether you have kids of your own, or just occasionally buy gifts for other little people in your life, it’s always handy to be across the latest and greatest brands for kids.

From personalised art prints to Melbourne-made furniture, there are so many fantastic options currently on offer. These seven brands are just a handful of our local favourites!

Selection of V. Happy Co Alphapics Prints. jnr.life Play Mat (oval, rust), Play Mat (round, linen); Play Room Mate (gull/lobster); Play Go Round (ocean and gull) Play Arc (cloud). Mustard Made Wire Basket. Make Me Iconic Loose Change Binoculars. Make Me Iconic Healthy Tummy Brekkie. Photo – Amelia Stanwix. Styling – Paige Anderson. Art direction – V. Happy Co

Playmat in Sage by jnr.life. Photo – courtesy of jnr.life

New V. Happy Co Art Print – Robot Face Print (800mm x 1200mm, available framed for Melbourne pick up). Mustard Made ‘The Skinny’ Locker. jnr.life Play Mat (oval, rust); Play Room Mate (gull/lobster); Play Go Round (ocean and gull) Play Arc (cloud).  Make Me Iconic Loose Change Paddle Ball. Letter A Bag Tag by V. Happy Co. Photo – Amelia Stanwix. Styling – Paige Anderson. Art direction – V. Happy Co

jnr.life

In a market saturated by clutter, Nikki Davis and Ashleigh Pyke saw an opportunity to enter the children’s interiors space with a more sophisticated and considered design approach.

Their label, jnr.life launched in 2018 with high quality quilted play mats, but their latest venture is jnr.play – a collection of soft play-shapes made in Melbourne for both indoor and outdoor fun.

‘We create useful play essentials for junior life (right from birth) that nurture the imagination and encourage play without forsaking a stylish sensibility suited to grown-up environments,’ says Ashleigh.

These are the kind of kids toys you’ll proudly keep on display in the home, and can even double as furniture.

‘We design for tots but appeal to a contemporary aesthetic with uncompromising detail and durable, premium textiles,’ says Nikki.

jnrlife.com

Maxi Round World Map Backpack by Doo Wop Kids. Letter E Bag Tag by V. Happy Co. Photo – Amelia Stanwix. Styling – Paige Anderson. Art direction – V. Happy Co

Photo – courtesy of Doo Wop Kids

Doo Wop Kids

Sydney-based label Doo Wop Kids are bringing personality to gender-neutral kids fashion with their printed clothing, backpacks, hip packs, lunch bags, and handbags.

‘Doo Wop Kids create products that allow children to express themselves through bright colours, fun prints and loud patterns – without any rules,’ says Wendy Zakaria, who founded the label in 2015.

‘As a brand, we align ourselves to further the freedom of individuality and creativity within our children.’

With prints ranging from ‘70s inspired florals, to cheeseburgers, ramen, and world maps, Doo Wop Kids’ pieces are sure to make you smile. Items are made in both Australia and Indonesia.

doowopkids.com.au

Aussie Food Set by Make Me Iconic. Photo – courtesy of Make Me Iconic

Mustard Made ‘The Lowdown’ Locker. V. Happy Co Letter E Print. Letter E Bag Tag (on locker) by V. Happy Co. Australian Ute by Make Me Iconic. Australian Stacking Burger by Make Me Iconic. Plant and stand by Ivy Muse. Photo – Amelia Stanwix. Styling – Paige Anderson. Art direction – V. Happy Co

Make Me Iconic

After 10 years living in Europe, Natasha Skunca returned to Melbourne and realised the gap in the market for stylish souvenirs depicting local icons.

‘The city has so much to offer that is unique, stylish, and contemporary and I wanted something in our home that brought those elements to life,’ says Natasha.

A decade later, her label Make Me Iconic is still going strong, and has evolved from tea towels, cushions and artwork to also offer beautiful, wooden toys. Amongst their best sellers are remakes of the Australia Post street mailboxes and Melbourne’s famous yellow and green trams.

‘Our wooden toys also simply don’t go out of style, and tend to be more timeless… [They] keep kids busy and they are actually doing some serious learning right before your eyes,’ says Natasha.

There’s also non-Melbourne specific souvenirs for those based elsewhere in the country – such as glass ornaments, wooden versions of Arnotts biscuits, and sequinned accessories.

makemeiconic.com

Selection of V. Happy Co Alphapics Prints. Taco by Make Me Iconic. Locker by Mustard Made. Photo – Amelia Stanwix. Styling – Paige Anderson. Art direction – V. Happy Co

Letter A Print Alphapics Print by V. Happy Co. Photo – courtesy of V. Happy Co

V. Happy Co

V. Happy Co creates playfully designed art prints and more, to inspire both big and little folk.

Founded by designer Vanessa Perilli in 2019, PR expert and brand strategist Esther Navarro-Orejon joined the business in 2020.

Among their most popular products are the Alphapics prints – a unique illustrated alphabet to encourage language awareness, while also just looking great in any kids’ room! V. Happy Co also creates personalised art prints of kids’ names – the perfect gift for new parents. All products are proudly made in Australia.

V. Happy Co were the masterminds behind the now-postponed Happy House event… so stay tuned to their socials for the rescheduled date, as well as new products coming soon!

vhappyco.com

Mustard Made ‘The Shorty’ Locker in Mustard. Photo – courtesy of Mustard Made

Maxi Round World Map Backpack by Doo Wop Kids. Letter E Bag Tag by V. Happy Co Mustard Made ‘The Skinny’ Locker in Ocean. Letter A Bag Tag by V. Happy Co. Photo – Amelia Stanwix. Styling – Paige Anderson. Art direction – V. Happy Co

Mustard Made

We’re big fans of Mustard Made – makers of colourful lockers for kids bedrooms, playrooms and adult spaces alike!

Lockers are available in a range of sizes to serve as versatile storage solutions. The Twinny for example makes for an ideal wardrobe, The Lowdown can be a TV console, and The Shorty is a bedside table alternative. The only problem is choosing a favourite colour!

‘Our lockers are designed to be simple, beautiful, and above all, super versatile, no matter how big or small you are,’ says Becca Stern, who co-founded Mustard Made with her sister Jess Stern in 2018.

‘It’s all in the little details, from the matching keyring to the flexibility of the shelves. We really want our lockers to last so they can grow with you as your clothes get bigger.’

mustardmade.com

Letter B Print by V. Happy Co. Plyroom Ava Cot. Plyroom Dedo Wooden Storage Box. Linen and cushions by Sage x Clare. Mustard Made “Shorty’’ Locker. Doo Wop Kids Trucks Tall Lunch Bag. Plant and planter by Ivy Muse. jnr.life play mats and shapes. Letter A Bag Tag by V. Happy Co. Make Me Iconic Healthy Tummy Brekkie. Photo – Amelia Stanwix. Styling – Paige Anderson. Art direction – V. Happy Co

Plyroom Ava Lifestages Cot. Photo – courtesy of Plyroom

Plyroom

‘Thoughtful’ and ‘understated’ are not words commonly used to describe children’s furniture, but not all children’s furniture is created by Plyroom!

Among this label’s wider furniture collection are several pieces specifically designed to grow with children, and last a lifetime.

‘Children’s spaces are often cluttered and busy. Our pieces sit lightly in the space and create a natural canvas for calm,’ says Plyroom director and founder Elise Heslop.

‘As families grow and needs change, our pieces can adjust and adapt to growing children and spaces as life changes. The Ava Lifestages Cot (pictured), for example, is also a desk, junior bed, and two-tier cot.’

Plyroom products are made in Australia and Italy.

plyroom.com.au

Sage x Clare kids wares. Photo – Armelle Habib. Styling – Heather Nette King.

Photo – courtesy of Sage x Clare

Sage x Clare

A leap of faith saw Melbourne based designer Phoebe Bell found Sage x Clare in 2013, and she hasn’t looked back since!

The homewares, apparel and accessories label expanded to include a baby and kids range in 2017, offering a vibrant range of bed linen, cushions, wall hangings, blankets and muslin wraps.

‘Creating handcrafted pieces full of charm, colour, pattern and texture is the heartbeat of this brand,’ says Phoebe.

Sage x Clare’s soulful and textural wares are designed in Melbourne and made in India. ‘Each piece has such detail that it’s a joy to be surrounded by them,’ says Phoebe. ‘To hold these pieces in your hands and know that someone has learnt a time-honoured craft to create them is the most special feeling of all.’

sageandclare.com

[doomonfilm]

Ranking : Spike Lee (1957 - present)

There have been countless directors whose careers have spanned my lifetime, but out of these countless masses, the one whom I can find the most in common ground with (as well as endless inspiration from) is Spike Lee.  A New Yorker through and through, Lee went from a series of films that seamlessly blended hip-hop and old school Hollywood aesthetics, to personal films, to his take on the blockbuster, and currently, to the point where his canon has earned him artistic freedom and expression that many of his peers have not been able to achieve.  He is the perfect bridge between the director-driven mindset of the 1970s and the cultural boundary-pushing films of the 1990s-forward.  Not everything that he directed was a hit or a masterpiece, but this man has more iconic films under his belt that some directors have films to their name.  That being said, it’s time to stir the pot and make an attempt at the monumental task that is ranking the films of Spike Lee.

I will only be including theatrically released feature films of Spike Lee that I have seen.  His documentary work will be excluded, as well as his films I have missed or have yet to see.  Here is a list of these films : Da 5 Bloods, Chi-Raq, Da Sweet Blood of Jesus, Joe’s Bed-Stuy Barbershop: We Cut Heads, 4 Little Girls, The Original Kings of Comedy, When the Levees Broke, A Huey P. Newton Story. 

20. Oldboy (2013) Every film that you make can’t be a winner.  In the case of Lee’s attempt at remaking Oldboy, there were already two major strikes against it : a superior version of the film already existed, and that version was the middle film of a trilogy.  I doubt that even a team of the most talented directors could have made a superior version of Oldboy that surpassed the original, but after 30 years of making films, it’s admirable that Lee would even attempt something so bold and seemingly insurmountable.  

19. Red Hook Summer (2012) When your film catalog covers three decades, there’s bound to be some overlap, be it stylistically or narratively.  I’ve only seen Red Hook Summer once, but it was impossible for me to look at it subjectively, as it seemed to be a modern day mirror to another one of Lee’s explorations of New York adolescence.  While this story is not a direct copy of a Spike Lee film that I will go into more detail on later, it does feel like the update equivalent that focuses on himself rather than the childhood of his sister.  While an entertaining film from what I can remember, it sits behind a list of previous impressive achievements.

18. She Hate Me (2004) Humor has been an element present in a number of Spike Lee films, but for my money’s worth, this film is the closest thing to an outright comedy that he ever made.  Like a number of films on the back half of his career, he is touching upon important topics (sexuality and toxic masculinity, in this case), but these are topics that he has hit with more nuance and creativity in earlier films.  This film did help transition Anthony Mackie into a leading man role, and he certainly took that opportunity and ran with it, so She Hate Me could be heralded for that alone.  That being said, it was a great idea that slightly missed the mark, therefore placing it on the backend of the memorable films list for Lee.

17. Miracle at St. Anna (2008) This film had the potential to be a breakout resurgence for Spike Lee.  He was coming hot off the heels of Inside Man, a perfect blend of Lee’s style and modern Hollywood fare, so having a period-piece war film seemed like a slam dunk.  His cast was strong, while also being filled of relatively unknown young actors on the verge of becoming stars in their own right, but for whatever reason, this film failed to make a connection with the masses.  While I do remember mostly enjoying my watch, I also remember feeling a bit underwhelmed by the ending, which in turn left me lacking a reason to revisit it.  Maybe it’s a hidden gem that I haven’t seen enough times yet, but at this moment in time, its home is near the bottom of Lee’s impressive list of films.

16. Get on the Bus (1996) Many people’s eyes were opened to racial injustices during the COVID-19 pandemic, as several African-American men and women found themselves on the wrong end of violent acts from the police and other citizens in the midst of a ‘shelter-in-place’ era.  Not only have these injustices been going on for my entire lifetime, but they’ve been a generational trauma for many African-Americans in the United States.  When the Million Man March was announced in 1996, it was not surprising that Spike Lee took it as an opportunity to both document the march and build a narrative around it in which he could showcase a collection of actors he’d either featured in past films or would work with in future films.  To my knowledge, this is one of maybe two or three films about the event, and it was certainly the film released in the closest proximity to it.  For an independent, quick shoot, it definitely stands up, but in comparison to Lee’s other works that benefited from full crews and production schedules, it finds itself paling in comparison.

15.  BlacKkKlansman (2018) Despite the fact that this is the film that finally got Lee some sort of recognition at the Oscars, BlacKkKlansman was not quite the true return to form that many fans of Spike Lee expected.  The film had moments of humor, compelling moments that directly focused on racial injustice and systematic oppression, and it pulled no punches while doing so.  Like a handful of Lee’s other films, however, this one falls when compared to his other films that deal with similar subject matter.  Adam Driver continued to show fans his expansive range, and  Jasper Paakonen deserved INFINITELY more recognition than he got, but ultimately, this film checks all the ‘good’ boxes where it was expected to check the ‘great’ ones.

14. 25th Hour (2002) As the year 2000 approached, Lee seemed to attempt and make a shift from films that specifically spoke on aspects of the African-American experience in favor of occasional films that reached a wider audience.  While Summer of Sam would be considered the first foray into that realm, the true mark of this elevated sense of creative duty came in the form of 25th Hour.  With the actors in tow, in tandem with the cinematography and skilled directing ability displayed in the film, one would expect a powerhouse movie, but ultimately, the expectations exceeded the narrative of this film.  This one is entertaining, don’t get me wrong, but I personally did not find a connection with the story, meaning that the film was, at best, fun to watch.

13. Summer of Sam (1999)  I’ve been a true-crime junkie since my early teenage years, and even the most casual of true-crime fans is more than likely familiar with David Berkowitz, also known to many as the Son of Sam.  While Red Hook Summer did come out after Summer of Sam, it’d be hard to deny the fact that Summer of Sam is the last of Lee’s love letters to New York City.  This was the film where Spike Lee stepped out of his comfort zone of the African-American experience, choosing instead to focus on more colloquial aspects of the American experience, and for my money’s worth, it was the start of an important shift for him.  Despite being light on the Son of Sam action, the actors this film does focus on (and the story it chooses to tell) is a fresh look at a familiar era, and a crowning achievement that signaled new things for Spike Lee.

12.  He Got Game (1998) If you made a Venn diagram of people familiar with Spike Lee, the two biggest circles would be film fans and people who have seen at least one New York Knicks game since the 1990s.  Therefore, the only thing that was really and truly surprising about He Got Game was the fact that it took Spike Lee 15 years and 11 films to make a film about basketball.  On the outset, that’s exactly what it is : a film about basketball.  Viewed with a wider lens, however, this story is a love letter to one of the most popular American inventions, and a story about how it can serve as a common-ground bridge for those from wholly different walks of life.  The juxtaposition of Aaron Copland and Public Enemy made the soundtrack provocative, and Ray Allen stood out in his lead role, holding his own against the living legend that is Denzel Washington, who is always good for a stellar performance in a Spike Lee joint.  Don’t mistake this film’s place on the list for my feelings about it... this is a stellar film, in my opinion, and one of my favorites to revisit.

11. Crooklyn (1994) After making what many would argue to be the most important film of his career (which we will eventually get to), it’s no surprise that Spike Lee circled his creative wagons and made the focus of his next film inward.  Crooklyn covers what seem like many personal bases for Spike Lee : he portrays the New York of the past vividly and beautifully, while spinning a true-to-life tale based on his personal experience, but opting to focus on his sister Joie Lee and his father Bill Lee.  Of Lee’s many, many films, this was the one that I felt the most compelled to see at the time of release, it is one of the two I have the most vivid memories and recollections of, and it has a number of stylistic choices that keep me wonderfully perplexed to this day.  Despite not cracking the top ten Spike Lee films, this one ranks high on the list of Spike Lee films that hit the bullseye of my heart.

10. Jungle Fever (1991) Interracial romance is one of those things that seemingly will always be a sensitive subject.  I’ve heard many people say that Jungle Fever has a dated look on the subject, but I’d argue that the film was very forward thinking, especially in showing that an interracial romance is not the answer to the cultural and societal problems that life presents us.  The movie also touches deeply on drug addiction without crossing over into the realm of being preachy or talking down to the viewer.  It didn’t hurt that Stevie Wonder also managed to create a soundtrack’s worth of new material that instantly brought the seemingly controversial film directly into the public eye.  Maybe it is dated... maybe it is uncomfortable... but what it is, undoubtedly, is an early masterpiece that fell near the end of one of the most stellar introductory runs that any filmmaker has presented us.

9. Clockers (1995) Ever wonder what would happen if a Martin Scorsese film found its way into the hands of Spike Lee?  Well, wonder no longer, because Clockers is out there waiting for you to discover it.  The amount that this movie gets slept on is an outright tragedy and travesty.  The soundtrack is KILLER, the color-timing puts the viewer in an immediate ‘cold-world’ environment, the order of operations presented in this film is brutal and unforgiving, and yet, it manages to be one of the most heartfelt films in the Spike Lee canon.  EVERYONE presented in this movie brought their A-game to the table, from the Spike Lee regulars like Isaiah Washington, John Turturro and Harvey Keitel, to the glorified cameos and supporting roles, like Thomas Jefferson Byrd, Sticky Fingaz and Fredro of Onyx, and relative newcomer but promising leading man Makhi Phifer.  This film is intense, but it is more than worth your time and attention.

8. Bamboozled (2000) Bamboozled was shocking when it was released, to say the least.  The true revelation, however, has been the way that relevance has seemingly caught up to the film... fake wokeness, modern day minstrel shows, low budget/high yield television and behind the scenes scandals have all come to light many years after this film had its initial run.  While this film did not transition Savion Glover into the world of superstardom and crossover success, it certainly crystalized his immense talent and charisma in a way that his recordings of stage shows had previously been unable to capture.  The imagery of America’s strange fascination with the dehumanization of African-Americans for generation after generation is rich, and every performance is compelling.  This was definitely Spike Lee’s first masterpiece of the new millennium, and at the risk of being bittersweet, probably one of his last truly stunning achievements.

7. Girl 6 (1996) Every ranking list has to have the controversial placement, so here’s mine... Girl 6 started as a lingering interest for me.  The internet was just about to change the world, but we were still locked into landlines at the time, with cellular being a luxury, so the world of phone sex still had relevance.  Upon seeing the film, however, I quickly realized that the phone sex exploration was playing counter to a Hollywood hopeful narrative that was brave enough to explore new ground (per the changing times) while being mindful enough to pay homage to the countless stories of Hollywood hopefuls that came before it.  Many of the shifting cinematography looks that made Clockers so gritty were used to make Girl 6 feel dangerously euphoric.  The list of cameos and brief supporting roles were not only a who’s who of cultural movers and shakers at the time, but it ran about as long as my arm.  I recently revisited the film and expected it to be a bit more on the side of kitsch, but surprisingly, the times had not been as hard on the film as I anticipated.  The film shifts quite well between light and dark, and even the ending that initially slightly annoyed me has found a strange sort of charm in my older, more life-experienced years.  Add to this the hilarious running joke of Isaiah Washington being a kleptomaniac in nearly every scene he appears in, and there’s a realization that there are sublayers going on right in front of our eyes.  This collaboration with Suzan-Lori Parks gives me hope that maybe one day, we’ll get a Spike Lee film adaptation of Topdog/Underdog, but we will see.

6. Inside Man (2006) If you had to pick the most ‘Hollywood’ of the Spike Lee films, my money would be on this film ending up as the chosen one.  By this rationale, it makes the film that much more impressive, as it also stands out as one of the most compelling, well-directed and well-acted Spike Lee films.  At the time of its release, it was not only a return to form, but it seemed to signal an evolution.  Spike Lee was able to use his signature, iconic shots that he was known for, like his camera-turned-to-dolly float, or the push-pull zooms, but he was also able to incorporate familiar Hollywood tropes, including the twist ending, and give them a breath of fresh air via an newly infused sense of style.  Lee also stayed true to himself by educating as well as entertaining, bringing to light how atrocities from the past have more than historical connections to modern day benefactors.  While I do think there are a handful of better ‘pure’ Spike Lee films, if I had to pick one movie for a curious party that my be skeptical, this would easily be my pick.

5. She's Gotta Have It (1986) Oh, the joy of having your first film be a breakout success, but not to the point of pigeon-holing your career.  She’s Gotta Have It was an important introductory step to the masses for Spike Lee : it showed his dedication to putting African-American performers into familiar narratives, it showed an appreciation for the voice of women on film that many first-time directors would likely not want to be the initial association to their style, it introduced the world to Mars Blackmon (who became a cultural icon), and it presented sense of style that switched on the viewer the moment before they could label it pretentious.  Having characters address the camera made it feel like a play or a novel, but when the film shifted into movie mode, the camera moved with the energy and grace of a performance artist or dancer, which in turn fed into the character development and narrative it presented.  As a bonus, the property found new life nearly 40 years later as a Netflix original series, introducing new generations to a modern day classic statement of feminism, and how it does not excuse bad behavior.

4. Mo' Better Blues (1990) Those familiar with Spike Lee’s family know that he was raised by jazz bassist Bill Lee, who scored some of Spike’s early films.  By this rationale, it comes as no surprise that Lee could make such a rich, nuanced and heartfelt film about jazz music that serves as an allegory for the hurdles that beset those driven purely by passion.  The conversations about race, musical integrity and commercialism also work on both direct and symbolic levels, giving Mo’ Better Blues some of the highest repeat viewing value of any film in the Spike Lee canon.  The film also marked the first collaboration of Spike Lee and Denzel Washington, a combination that yielded artistic, career, creative, commercial and critical success, led to a multitude of classic performances, and ultimately led to a generational collaborative changing of the guard in the form of John David Washington.  The only negative I can give this film is that it did not lead to future films that explored genres of music like hip-hop and soul.  While She’s Gotta Have It did focus heavily on relationships and intimacy, it could be argued that Mo’ Better Blues was Spike Lee’s first adult contemporary film, and his first look at modern romance in the more ‘traditional’ sense.

3. School Daze (1988) The African-American college experience, specifically that of HBCUs (Historically Black College and Universitys), is one that has often been neglected in the annals of film history.  As a graduate of Clark Atlanta University, it makes total sense that Spike Lee’s second commercial film would focus on that specifically overlooked culture, as it became a fitting vehicle for establishing Lee’s sense of duty and responsibility for education, sharing the African-American experience to the masses, and exposing systematic injustices and hypocrisies that kep the disadvantaged in a disadvantaged position.  The real genius of this film, however, comes in the juxtaposition of presentations it jumps between... for the majority of the film, it is an unflinching look at the coming of age process that teenagers must traverse on their way to adulthood, including the hurdles of romance, forming your identity and expanding your view of the world around you.  At key moments, however, the film switches into musical numbers, song performances and school dances that not only expand on the inner feelings, emotions and desires of characters, but heighten the reality of the story to a dizzying pace.  In all the ways that She’s Gotta Have It put the world on notice that a unique voice was present in the industry, School Daze signaled the continuation of a run that would last another handful of films, and it firmly established Spike Lee as a generational talent. 

2. Do the Right Thing (1989) I would guess that over the course of a career, a director secretly hopes that at least one of their works comes close to making an impact culturally.  In the case of Spike Lee, however, we have a man who released two cultural-shifting films, and did so in a span of less than 5 years.  They say the third time is a charm, and that’s exactly what Do the Right Thing was for Spike Lee.  The vivid colors, stylistic earmarks, historical and cultural sense of urgency and focus on telling minority stories all expanded greatly with this film, which acted as both a parable of how past injustices can come back to haunt you, and a harbinger of how the reactions to these continued injustices would only amplify if not addressed.  The fact that Spike Lee not only directed this film, but played the lead actor as well, is a monumental achievement, especially considering how few flaws the film has, if any.  Several established actors played some of their most iconic roles in this film, and a breadth of newer, younger faces exploded onto the scene, almost all of whom either continued to work with Lee or found themselves evolving their careers in the wake of Do the Right Thing.  The film is also directly responsible for perhaps the most iconic hip-hop song of all time, Public Enemy’s classic protest anthem Fight The Power.  Any fan of film would be foolish to skip the Spike Lee catalog, but regardless of whether you’re interested in his work or not, this film is one of two he made that should flatly be considered required viewing across the board.  The other one, being...

1. Malcolm X (1992) For everything that Do the Right Thing did for Spike Lee and those involved in the production, the monumentally powerful biopic Malcolm X did all of that while also managing to humanize, canonize and create and icon out of a man that America tried its best to demonize.  The masterful hand that Lee used to direct this film shows, as this film is the most ‘every frame a painting’ in his canon.  Everything from the period costuming to the locations to the dance numbers to the cinematography absolutely leaps off of the screen.  The editing is kinetic, the performances are full of life and depth, and the narrative does just enough going forwards and backwards to make proper connections without beating it over the head of the viewer.  The respect shown to Malcolm X is massive, so much so that almost seemingly overnight, Malcolm X went from being a feared and often heavily criticized sign of aggressive blackness to a commercial commodity and household name, with the famous X suddenly adorning t-shirts, baseball caps and necklaces of all American youth, not just minorities.  The impact of this film was so immediate that many schools held field trips for viewings, which further cemented the immediate and historical value of the film.  Often, the connotation of saying someone ‘peaked’ for a film so early in their career would be negative, but the heights to which Malcolm X achieved on all fronts meant that even if the rest of Lee’s career was a steady decline (which it certainly wasn’t), he more than likely still would have ended up in a pantheon far above that of the average director.

With projects reportedly in the early stages of development, it doesn’t look like Spike Lee has any plans on stopping anytime soon.  I certainly owe it to myself to see the handful of his films and documentaries that I’ve not seen yet... who knows, perhaps I may even go back one day and add the documentaries into the list, or find a surprise gem in one of his more recent movies I’ve yet to see.  

[saywhatjessie]

Asexual Supernatural MiniBang 2019: He’s a Little Bit Country by JessJesstheBest with art by Tiki ( @never-used-ever​)

"Tell me what we’re doing here today, Clarence.” Castiel shifted on his feet, moodily, but answered her in a grumble. “We’re putting on a concert benefit for Planned Parenthood.” “Right! And why is that?” “Because this country is run by a monster who is trying to take away the reproductive rights of women and we need to raise money to continue to fund our program which helps women have agency in their own bodies." 

Or the one where Castiel, as part of planned parenthood, puts on a joint punk and country benefit concert where he meets Dean Winchester, the handsome country enthusiast who is also an asshole.

“This is by far the weirdest musical lineup I have ever seen…”

Meg snorted, reaching as far as she could on her ladder to make sure the sign was hanging straight. “You’ve never been to Bonnaroo, have you?”

Castiel hummed, tilting his head in allowance. He hadn’t ever been to Bonnaroo but he had heard about it. Any festival that had Phish on one stage and Cardi B on another was definitely going to be weirder than anything they were putting on.

But still…

“I guess it’s just weird to me because country music is usually so insular,” Castiel continued, eyes up at Meg where she was at the top of the ladder he was holding for her. “I mean, they have their own awards show. The regular Grammys and AMA aren’t good enough for them. They need special awards for their special jesus and banjo music.”

Meg looked down at him with a reproachful frown but her eyes danced with laughter. “Clarence, we talked about this. This is a unity concert. You can’t be mean to literally half of the guests.”

Castiel huffed grumpily. “Still not sure why we even needed –”

Meg groaned, and climbed down off the ladder. She reached up to clap both her hands on his shoulders. She was normally much shorter than him but she was wearing her platform combat boots for today’s event so her eyes were level with his nose.

“Tell me what we’re doing here today, Clarence.”

Castiel shifted on his feet, moodily, but answered her in a grumble. “We’re putting on a concert benefit for Planned Parenthood.”

“Right! And why is that?”

“Because this country is run by a monster who is trying to take away the reproductive rights of women and we need to raise money to continue to fund our program which helps women have agency in their own bodies.”

She tweaked his nose. “Got it, bud!” Castiel couldn’t help but smile a little, even at the diminutive gesture. “And how do we get those funds in this podunk ass college town?”

“Colleges are liberal,” Castiel argued, his jaw stiff. 

Meg flicked his ear. “No no no. We went over this. College students do not have the kind of money we need. We need to appeal to the townies. What do townies like?”

Cas ducked his head, the toe of his own combat boot grinding into the gravel. “Country music.”

“Theeeere ya go.” Meg patted him on the cheek. He couldn’t help but preen a little at the praise, even if he wouldn’t let Meg know it. “Besides!” she continued. “A lot of country music is totally anti-establishment. Half the songs are about the labor movement! I’ve told you about the Welsh miners uniting with the queer community and–”

“Yes, yes, the Dulais valley. You cry every time you tell me about it.”

Meg nodded, her eyes, indeed, watery. “It’s just so moving .”

Castiel chuckled, bringing up his own hands to pat Meg on the cheek, much like she had. “Yes, I believe it is. And I know you’re right.” He sighed. “I’m just having trouble accepting that I’ll have to suffer through a night with the type of people I spent all of my teen years staying away from.”

Meg pouted at him, bringing him in close so she could rub his back. “I know, sweetie. Revolution demands we make ourselves uncomfortable. That’s just how it is.” She pulled back and smiled at him. “But don’t worry: I’ll be here with you the whole time.”

Castiel blushed, rolling his eyes. “I know what you’re doing,” he told her. “And your dominatrix powers won’t work on me. I’m asexual, remember?”

Meg laughed, reaching up to tweak his nose again. “They already have worked, Clarence. And you know as well as I do that domming doesn’t have to be sexual. Look at how well I just calmed you down.”

Castiel frowned petulantly but kept himself tucked to her side. She laughed at him, reaching up to ruffle his hair.

“They don’t pay me the big bucks to be a shitty Dominatrix, Clarence.”

“They don’t pay you for that at all, anymore,” Cas pointed out. “You’re paid to organize this shit now.”

“Yeah, but it did pay for these boots.” She grinned down at her platformed boots. The buckles were rose gold. “Well, indirectly. One of my clients bought them for me.”

Castiel wrinkled his nose. He was all about free sexual expression but whenever Meg brought up whatever the Allos™ got up to, it still skeeved him out.

“Right,” he said. She grinned at him, a little evilly. He pulled away from her, rolling his eyes again, and fixed his denim vest. It was his only concession to the theme: adding blue denim to his outfit. The arm holes were frayed, it was studded, and there were more patches and safety pins visible than fabric, but it was still a denim vest.

Meg had made no concessions to the theme. She still wore her same fishnets, connecting the top of her boots to the bottom of her cuffed denim shorts. She wore a torn Pussy Riot crop top under a torn leather jacket. Her hair was in a top knot, showing off the severe undercut and the anarchy symbol tattooed on the back of her neck.

She looked great. Not exactly what one would expect from a community youth organizer –  even one for Planned Parenthood – but really great.

As he looked her over, she was looking at him, evil smirk still on her face.

“For someone who’s here to bitch about half of the festival’s attendees, you sure do look like you’re dressing to impress…”

Castiel scowled, his lip ring poking out with his bottom lip.

He had dressed mindfully, not knowing what would go best with the denim vest as he rarely wore it out (he liked tank tops that could show off his massive back tattoo) so it did kind of look like he was trying harder than normal.

He’d settled on torn black skinny jeans (obviously, even if it was August) and a purple muscle tee cropped to just below his belly button under the vest. The shirt also repped iconic queer punk band, The Queers, because, although he was following theme, he didn’t want anyone to mistake him for a heterosexual.

“Who would I impress with this outfit?” Castiel asked, deliberately poking his finger through a hole in the collar of his shirt.

“Not just the outfit,” Meg said, crossing her arms. “You’ve got your stars on today.”

Castiel touched the corner of his eye, reflexively. “I do these every day.”

“But not on your hands. ”

Castiel grimaced. He had, in fact, stenciled stars onto the backs of his hands that morning. They went from his fingers and trailed halfway up his forearms.

It was, admittedly, a lot for an event he said he hadn’t cared about.

“I got carried away…” he said, turning his hands over to look at the pattern. He did really like the way it looked. Maybe he’d get something tattooed in this pattern… “I feel weird whenever you can’t see my back tattoo. I think I tried to compensate.”

Meg laughed, bringing her hand up to trace over the stars across Cas’s cheekbone. “I like the asymmetry today,” she told him, lightly tapping at the triangle of stars next to his left eye. The right eye only had one.

“Thank you,” he said, before grabbing her hand and gently pulling it away. “But please don’t smudge them. It’s just eyeshadow.”

Meg laughed again, bringing her hands back to herself. Her phone rang.

“Yeah,” she answered it, eyes narrowing in preparation. She was in charge of the whole event: she’d been putting out a lot of fires.

He watched her nod and hum and roll her eyes occasionally before sighing and hanging up. “I gotta take this. You mind being the welcoming committee?”

Castiel grimaced. He was said to be many things, but welcoming was not one of them.

“I know, sugar,” Meg said in response to his face, scrunching her nose in sympathy. “But you don’t have to do anything but direct people to the stage and thank them for coming.”

Castiel grunted, still scowling, but Meg took that for the acceptance it was. She smirked, kissing him on the cheek, and walking backstage to figure out whatever needed figuring out.

Castiel sighed, turning toward the fence that separated the audience bit of field from the regular, non-audience bit of field. There was a reason the townies liked country music: the university was in the middle of bumfuck nowhere. Fields were the cheapest and easiest venue for a concert.

There was a $10 recommended donation for entry but in practice it was ‘pay what you can.’ The vendors, too, were contributing a portion of their proceeds to Planned Parenthood, so even if most guests paid less than $10, they were still netting a decent amount, especially considering the crowd slowly filtering in through the gate.

Castiel was happy on Meg’s behalf about the turnout but the masses of people converging on him definitely stressed him out.

“Hi!”

Castiel spun, startled, to see a chipper-looking redhead in a flannel shirt smiling up at him.

“Uh, hi.”

“Hi!” she said again, smiling wider now that he’d returned her greeting. “Are you with Planned Parenthood?”

“Oh. Yeah,” Castiel said, forcing himself to smile. “Sorry, the concert’s going to start over that way–”

“Oh, no, I know. I wanted to ask you something else. I heard Maddie and Tae were coming?”

Castiel frowned, trying to think of who Maddie and Tae could be.

The redhead must have taken Castiel’s frown as a denial. Her face fell. “They’re not coming? But they would be perfect–!”

“Charlie no, come on,” said a man standing just behind Charlie that Castiel hadn’t noticed. “They suck so much. They’re barely even country.”

Castiel frowned harder, not caring for his tone. He had given her the hint he’d needed though: Maddie and Tae = country artists.

“Actually, they will be performing tonight,” Castiel said, casting a dark look at the man. He too was wearing flannel, though he’d taken it a step further and also put on a cowboy hat. Castiel fought not to roll his eyes before turning back to the girl. “When we reached out to them, they were very excited to support our message, being huge feminists and all.”

The girl, Charlie, smiled brightly again. “I know! They’re awesome.”

The guy snorted behind her. Castiel turned to him again, murder in his eyes.

“I’m sorry, do you have a problem with strong women spreading the word of feminism? If so, you are definitely at the wrong event.”

Cowboy Hat did roll his eyes, clearly not having the same restraint as Castiel. “Come on, man, it’s not about that. They’re just glorified pop stars pretending to be country.”

“Well I should hope so,” Castiel said coldly. “What you call ‘real’ country music is a misogynist institution that fights to maintain the white-centric heteronormative status quo of the south. Every person who likes ‘real’ country is a backwoods hick who voted for Trump and has never even met a gay person in their life."

Charlie sucked in some air through her teeth. “Okay, maybe we–”

“No, Charlie, let him talk.” The guy pulled his shoulders back and crossed his arms and it was at this point that Cas realized if his combat boots didn’t have a slight heel, this man would be taller than him. “I want to hear more about what this narrow-minded asshole thinks of country music. I’d love to get his opinion on Mellencamp, Garth Brooks, Willie Nelson. You know –  those backwoods hicks.”

Castiel scowled. He didn’t know anything about any of those artists.  was confused as to why this guy would bring them up.

“What? Nothing to say to that? I’m sure you’ve got something to say about the Dixie Chicks.”

“Yes,” Castiel jumped on this, grinning that he had something to say about it. “They’re performing tonight! They’re always looking for chances to perform since being blacklisted from the country community after speaking out against–”

“George W. Bush, I know,” the man said, rolling his eyes again. “You don’t get bonus points for knowing about one of the hottest controversies in music history.”

“I don’t need your fucking bonus points,” Castiel spat, “I was making a point that the industry of country music rejects anything that might be at all progressive .”

“Well, we weren’t talking about the fucking industry ,” the guy spat right back, taking a step toward Castiel. Behind him, Charlie grabbed his arm with a reproachful, ‘Dean’ 

“You think the punk industry is free from sin? What about the Casualties and Front Porch Step? Pwr Bttm? How do you defend punk fans defending sexual assault?”

Castiel felt his face heat up in anger and embarrassment. He, of course, knew about the sexual assault scandals by those bands but, seeing as he and his friends soundly rejected bands once they showed to be harboring abusers, he didn’t think about them much.

It still begged the question, “Where are you pulling these facts from?”

The guy – Dean – grinned viciously. “I’m a sociology major with a minor in music. Just because I've lived in one town my whole life doesn't make me an idiot. I know at least TWO gay people.” He reached behind him for Charlie’s arm and pulled her forward. “Meet Charlie. Lesbian and my best friend.”

Charlie looked embarrassed, either on behalf of her friend, Castiel, or herself, but she smiled and reached a hand forward to shake Castiel’s.

Castiel shook it, dully. “Castiel.”

“Dean,” the guy said, smugly, not bothering to extend his hand. Castiel shot him another nasty look.

“Thank you for coming,” Castiel said, through his teeth. Dean winked.

Charlie laughed, pulling her hand back and punching Castiel on the shoulder. “We’re gonna be best friends. I can tell.”

Castiel rubbed absently at his arm where Charlie punched him. “Right,” he said.

Both Dean and Charlie grinned.

“Well… I should,” Castiel jerked his thumb over his shoulder, “I should see if Meg needs anything. Her event. Very stressful. You get it.”

Dean nodded, still smug. Castiel grit his teeth.

“Find us later!” Charlie told him, again smiling.

Castiel smiled back, reflexively, even though he knew he wasn’t going to find them. He liked Charlie – it wasn’t her fault her friend was a jackass.

 Read more on Ao3

[garp20-liambull]

Visible Signs - David Crow

Saussure + Pierce

Visible signs first begins which Crow discussing Pierce and Saussure. He elaborates on their theories of semiotics more thoroughly than I had researched already. He goes on to state that Saussure is classed more as linguistics rather than semiotics meaning he focuses on language other than visual whereas Pierce can be applied to a broad range of communication. Linguistics was defined to explain signs by imagining them as a sense of gestures, actions and sensations. As I had analysed prior, the two fundamentals of linguistics are the signifier and the signified. A simple example of this could be a dog. The word ‘Dog’ is the signifier as it is a word we associated with the animal or image of a dog (the signified). This is elaborated in more detail. Language is constructed of units called Phonemes. If we use the dog as another example. The word ‘dog’ has three Phonemes ‘D’ ‘O’ ‘G’ which represent a sound. These phonemes together represent the mental picture of the object. However Sausaure states thats the relationship between the signifier and the signified is completely arbitaray as in different languages the Phonemes are different such as Spanish Dog is ‘Perro’ in French ‘Chien’. Therefore each of the Phonemes is inferred different dependant on the subject that is inferring them. 

Pierce has a similar theory in stating that a sign is subject to cultural experience. The internet is not fixed. he breaks his theory down into key points 

Icon - resembles the sign.

Index - There is a direct line between the sign and object. Examples of this include smoke = fire.

Symbol - It has no logical connection between the sign and what it means. It purely relies on the reader having already learnt the connection between the sign and meaning.

Iconic - You can have written iconic such as onomatopoeia. Their sound resembles the thing they represent. These are iconic signs.  

Arbitrary - The relationship between the relationship between the signifier and the signified functions through agreed views.

Examples of this include the no smoking signs depicted above. Now for most people they can infer what the signs are saying through the cigarette (icon) and the red cross or red crossed circle (symbol - as most people would already have knowledge of this meaning no). However to some cultures, pictures four and nine would have no meaning because the relationship between the act of smoking and the words beneath to describe it are arbitrary and culturally specific. 

Official Language -  This takes a look at how cultural hierarchy is established and examines how societies ensure the acceptance and legitimisation of languages.

Pierre Bourdieu - ‘The more difficult the entry the more defined the field.’

Language no dialect have natural limits however Official Language does. Previously stated all that is necessary for a language to exist is an agreement amongst a group of people that one thing will stand for another. Bloomfield describes this as ‘linguistic community’. A group of people who use the same system of linguistic signs. Official Language imposes itself as the only legitimate language within a territorial limit. This limit can be defined by class, age, education, social background and gender. The book uses a story from Genesis 11:1–9. According the Genesis...

“the Babylonians wanted to make a name for themselves by building a mighty city and a tower “with its top in the heavens.” God disrupted the work by so confusing the language of the workers that they could no longer understand one another. The city was never completed, and the people were dispersed over the face of the earth.” 

The meaning behind this is to show how language can be used as an instrument to control.

Unofficial Language - The purpose of this is to offer us new identities outside of the usual categories of age, class, gender, culture background etc.

Examples of this include Football fans. In the stands you see thousands of fans supporting their team. Now visually, you cans there are wearing the colours of the team they're supporting. But there are also other subtle signs being shown such as how the colours are worn, how they wear their scarves, how they dress and gestures they make all form a semiotic code. Despite them only wearing supporting colours they are still able to convey a wide range of message and fall into much wider convention. In short, the ‘gear’ the fans wear act as a highly symbolic function. This is especially true in Football Ultras. The symbolic gestures can be seen as a from of dialect previously discussed by Saussure. The wide range of semiotic symbols mark a distinct injustice community. What their wear, how they talk, their gestures, their haircuts are all part of a distinct and particular dialect created. The language is only determined by the group who use it and by no one outside which contrasts to Official Language.

 Graffiti Culture

This is an extreme type of unofficial language as it stands outside of the educational background. This means it is easily understood and inferred by many people. Graffiti is something that most people are draw to as if provides a form of expressive identity most people often crave. This form of tagging walls and markings dates back even to the Roman era of Gladiators when markings made from the athletes can be seen enshrined in the colloquium walls. 

The Stereotypical view of someone who graffitis is that they are a vandal, someone of working class, inner city with a below standard of education with destructive activities and a likelihood of criminality years to come. However studies by Craig Castleman of New York Graffiti found that this wasn't the case. in fact, studies shown that the spectrum is very broad for people. Some came from high earning households, others from ghettos with ethnicity ranging from Chinese, West Indian, Filipinos, Ukrainians and Dominicans. 

Graffiti Itself can be seen as gestures against the visible symbols of the establishment. Motivated also by the need for excitement and prestige by the artists. However there is no one specific rational for why this form of ‘vandalism’ is done. There have been many theories into the motives of vandalism. Stan Cohen suggested there are six. 

Ideological Vandalism - Property destroyed to gain publicity justified by political beliefs. 

Acquisitive Vandalism - To Aquire money or property such through means such as stealing.

Tactical Vandalism - A means of achieving some other end for example bringing a production line to a stop to break boredom or increase peer standing

Vindictive Vandalism -  Vandalism as some sort of revenge

Play Vandalism - For fun through high spirits 

Malicious Vandalism - Young people ‘breaking out’ ‘breaking free’ this includes attacks on authority property 

The visual dialect of Graffiti culture states that the marks have to be made quickly with materials say to carry. These typically include spray paint with now more recently the addition of a marker. When it comes to graffiti, stencils carry semiotic values of excitement, danger and subversion. They are typically found on functional packaging and urban street furniture. This gives it a sense of author, authenticity and consistency. Because of these second order signifiers of danger, excitement and subversion. The unofficial language of stencils has been used to promote sportswear, fashion labels, cars, clubs food, drink and events. If large corporations such as brands want to communicate with their preferred audience then they can adopt the identify of what the stencil represents and use that particular dialect to rah out to their target.

Sources

Title - Visible Signs : an introduction to semiotics in the visual arts

Author - David Crow 1962-

Subjects - SemioticsSemiotics and art

Publisher - Lausanne : AVA AcademiaEdition2nd ed

Creation Date - 2010

[seogroupbuytools]

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[catholicartistsnyc]

Meet Massachusetts-based Artist Kara Patrowicz

KARA PATROWICZ is a Maynard, Mass.-based visual artist, specializing in fibers, painting, and drawing. 

(www.karapatrowicz.com | kara.e.patrowicz@gmail.com)

CATHOLIC ARTIST CONNECTION (CAC): Where are you from originally, and what brought you to Maynard?

KARA PATROWICZ (KP): I was born in Brooklyn and grew up on Long Island. I went to Boston University and later returned to Boston to complete my Master of Fine Arts at MassArt. I stuck around to work, met my husband several years later and now live in Maynard, MA, in prime apple orchard territory. Overall I’ve been in the Boston/Cambridge/Somerville area about 15 years — I love the manageable scale of the city, full of universities and academic types. 

CAC: How do understand your vocation as a Catholic artist?

KP: My understanding of this vocation was strongly influenced by JPII’s “Letter to Artists,” and I still feel that he summarized it best as a search for “new epiphanies of beauty.” I love this reminder to seek fresh expressions of authentic beauty in the world, knowing that it is all an overflowing of grace from the Lord. When I use the term “beauty” I mean it in the fullest sense of the word, as an experience that can be both transcendent and deeply inward, pleasurable and painful, overwhelming and subtle, not simply a fleeting feeling of satisfaction.

I regard myself as a Catholic and an Artist but don’t often introduce myself as a “Catholic Artist.” Perhaps this is due to trepidation about how this label can be misinterpreted. But it’s also because I see these two parts of my life as naturally interwoven. My faith and my artistic calling grow out of each other. To be creative and develop my talents to their fullest potential is to be truly Catholic. To be religious and interested in the spiritual nature of things is intrinsically Artistic.

Lately I keep thinking about Flannery O’Connor. I really admire how her work bridges both “spiritual“ and “secular” realms. She was both devoutly pious but not afraid to engage with modern writing innovations and her resulting work spoke to both worlds in truly unique ways. I think this opened up overlooked (or even avoided) avenues for dialogue in the contemporary cultural sectors of her day. The scope and impact of my work is smaller, but I hope that it contributes similarly to this mission in my local communities.

CAC: Where have you found support in the Church for your vocation as an artist?

KP: The main support I’ve received has been encouragement from spiritual directors, friends in the young adult community, a wide range of priests, religious and laity. Many devout Catholics are interested in the arts and see it as a part of their spiritual heritage, and want to see these connections renewed. I’ve also particularly enjoyed following the development of groups like Catholic Creatives. 

CAC: Where have you found support among your fellow artists for your Catholic faith?

KP: I know a handful of fellow Catholic artists but most of the artists I know aren’t Catholic. When my faith has come up, more often than not, they are intrigued. This was especially true during my time in art school. Over the years I had some professors and classmates who wanted to discuss and debate topics of faith and the Church which was unexpected and refreshing. I find that if my tone and demeanor make it clear that I want to have a conversation rather than a fight, it helps things enormously.

CAC: How can the Church be more welcoming to artists?

KP: I think it would help if the Church had more art-related initiatives and truly engaged with young, contemporary artists. From a visual arts perspective, it would be wonderful to see more artist residencies based at Catholic churches (I actually tried to start one of these but didn’t get sufficient support), exhibits of contemporary work that engages the Catholic faith in a variety of forms, more vibrant art departments at Catholic universities, etc. I know this takes money and manpower that may be hard to come by. But I feel like I’ve seen glimmerings in some of the Catholic arts groups that I follow.

I also think that the Church could be even more welcoming of a wider range of art styles and approaches. Artwork and objects used in a liturgical context certainly need to follow essential norms. But “Catholic Art” isn’t restricted to liturgical art. Artwork created by Catholics can explore a huge variety of subjects, media and processes. Sometimes it feels like “Catholic Art” is expected to look a certain way, such as neo-Renaissance copies of Raphael or the sort of pseudo-modernist stained glass in many American churches. It’s good to remember that Catholic Art can have many manifestations, from traditional icon painting and folk crafts to abstract painting and video art. 

CAC: Where in Maynard do you find spiritual fulfillment?

KP: I moved to Maynard about a year ago and am still getting to know local Catholic communities. My husband, our newborn son Paulie and I attend Mass at St. John the Guardian of Our Lady in Clinton, MA. It’s a beautiful Church (we were married there too!) with wonderful, reverent music and great preaching.

CAC: What is your daily spiritual practice?

KP: I pray daily with the Mass readings and reflections from the Blessed is She newsletter, and my husband and I say a prayer together every evening before bed. I also have a personal prayer that I wrote to say each time I work in the studio. I had a spiritual director in Boston until moving recently, a priest who was a campus minister at my college who I reconnected with. I still email him and another prior spiritual director from time to time for guidance and it’s a big help!

CAC: What is your daily artistic practice?

KP: To be honest, I don’t often work daily (especially since I have a newborn baby right now). Even without a newborn, I typically worked other jobs and used my days off to work in the studio. I find I work best in this manner, rather than a short spurt once a day. Since my artwork tends to be labor intensive it is hard to have a sense of progress after working for only an hour or so; it’s much better to work for a longer stretch. I also find it really challenging to get into the right mediative, attentive mindset that my work requires if it’s only for a short period of time.

With my newborn I am cramming in bits of work where I can and finding babysitting so that I can work for longer stretches. I primarily use short bursts of time for tasks like applying to exhibits, updating my website, etc. I’m also figuring out how I can adapt my artwork to fit my new lifestyle -- as much as I enjoy meditative, labor intensive embroidery, I may need to work with materials and methods that are quicker and come to a resolution more easily.

My main advice is to find what brings about your strongest work. For some it’s working a little bit everyday, for others it’s consolidating time to work for longer stretches, or a mix of both (or something else entirely). 

CAC: How do you afford housing as an artist?

KP: My husband is thankfully very supportive of my work and is our main source of income. Until we married I lived in a million different apartments around Boston, all of which were cheap for the area and had multiple roommates. I found them all through local Catholic communities. 

CAC: How do you financially support yourself as an artist?

KP: Right now I’m a newly full-time mom, but before I worked a variety of different job situations. I’ve worked as an adjunct professor, museum desk receptionist, nanny, administrative assistant, part-time, full-time, multiple jobs at once, etc. I did a lot of job hunting through Hireculture.com and other sites, and also word-of-mouth. Massachusetts Cultural Council’s Artsake blog has been a big resource for exhibits and residencies, along with too many other sites to name. Right now I’m focusing on how to make more money from my work directly through building momentum on social media, experimenting with pricing models and selling prints and cards of my work.

CAC: What are your top 3 pieces of advice for Catholic artists post-graduation?

KP: Seriously prioritize creating a financially sustainable living (take classes in entrepreneurship, be rigorous about budgeting, etc.). Maintain strong connections with the artistic and spiritual networks you’ve formed, even when time is tight and energy is low. And required reading: Jacques Maritain’s “Art and Scholasticism,” Thomas Merton’s “New Seeds of Contemplation,” and Flannery O’Connor’s letters to “A” (compiled in “The Habit of Being”).

[emergentanimism]

Every Magician is a Thief

Cultural appropriation in magick has always been a sticky issue. From Crowley incorporating yoga into his magick outside of the Hindu belief structure, to the Romans stealing entire pantheons of gods, people seeking spiritual experience have always seen the neighbor’s grass and felt envy. Most of this comes from a genuine respect of those cultures, and a feeling that their own culture doesn’t have what they need to express their own spirituality. So they steal.

For the magus, the biggest danger here comes from taking things out of context. No spiritual practice occurs in a vacuum. The people whose traditions are being stolen have every right to say, “No. You’re doing it wrong. That’s not how that works.” Because their practice only works in their specific cultural milieu. In most instances, you will never get it right and you will never understand because you were not raised in that culture.

Not to mention that this kind of stealing most often comes in the context of colonialism. Greece was Rome’s colony when they decided to make off with an entire pantheon of gods.

But this doesn’t mean you can’t learn from other cultures. It doesn’t mean you can’t use their concepts as a part of your own practice. It takes some work. But if you’re willing to do it right and put things in the context of your own culture and your own locality, it’s going to work better for you in the long run.

Here’s an example. In my attempt to rebuild by own paradigm with a stronger foundation, I’m still doing a lot of ancestor work, but I am thinking about the next step. In the working theory of Emergent Animism that means contacting a wider range of spirits, which includes spirits of place or spirits of the land. Recently, one of my followers (thank you again @aweandimagination) reminded me about Shintoism’s strong animistic beliefs. So I did some poking around, and one thing I noticed right away were the shrines, some huge and elaborate structures, but others tiny roadside shrines dedicated to local Kami.

They instantly reminded me of the Thai Spirit Houses I learned about from Jenx and his interviews on Runesoup. (Go and listen to those episodes if you want to learn how to be respectful to other cultures.) 

So I want to do something similar. I think building a shrine to leave offerings and make a connection to land spirits would be extremely beneficial in getting to know those spirits and honoring them. But I certainly don’t want to build a “Thai Spirit House.” I’m not in Thailand. Why would the spirits near me understand the symbolism and motifs of that culture? So I did some more research.

Actually, I already knew that the Ancient Greeks created thousands of tiny shrines to local ancestors and spirits. In fact, the general populace in Greece were much more concerned with those spirits than they were with the fuckery of Zeus, Apollo, and their buddies. Those are gods for the nobles. They have rich people problems. The commoners were much more concerned about how they can appease the spirit of that big ass rock so they don’t piss it off when they go plowing all the land around it. What I didn’t know was that the practice continues to this day. The names have changed, with the shrines being dedicated to saints, but they sure look like a continuation of the ancient traditions.

Chances are, if you see a magical practice in another culture that appeals to you, dig just a bit, and you’ll find something similar in your own culture. That practice will probably make more sense to you, and even if it doesn’t, why not give it a try? You should also be tailoring it to local traditions and listen to the spirits and ask them what they want.

So I’m not going to build a Shinto shrine or a Thai Spirit House. It won’t have peaked and curved Asian architecture. I won’t leave strings of tropical flowers as offerings. I won’t be including Eastern Orthodox icons either. Incense, water, beads, these things are universal, and appropriate. But I will be using local products and things that resonant in my culture. 

You should research other cultures and be inspired by their magick. You should be awed by the great variety of spiritual practice in this world. But you should also be amazed when you learn that the core concepts themselves cut across cultures and across time. A true thief steals because they are lazy and don’t want to do the work themselves. Do the work.  

[andrebagoo]

Thanks to Opal Palmer Adisa for this interview which was published in the Jamaica Observer of February 10, 2019.

OPA: For me, the history of Trinidad and Tobago is synonymous with Pitch Lake as that was one of the first facts I learned and because it also saved Columbus and allowed him to continue his colonial voyage. So what is the meaning and implications of this title for your collection?

AB: With Pitch Lake I was drawn to several things. Firstly, the polyvalence of each word. Pitch, a quality of sound, a measurement of steepness or highness, a degree of intensity, a space for play, an act of service in a game, a proposal, the density of words on a page and, of course, especially in Trinidad, another word for asphalt, bitumen, tar. Lake, a place within a terrain, a space filled with water, a metaphor. The conflation of these dynamic words pleases. They resonate in a potentially bottomless kind of way.

And of course the layers of geography, myth, history. The Pitch Lake is itself the world’s largest asphalt lake. Its history is not limited to Columbus, the indigenous peoples of this land developed myths about its formation and purpose long before him. (Incidentally, it seems there is some uncertainty as to whether it was Columbus or Sir Walter Ralegh who encountered the lake first). The lake itself is a natural wonder, its level has barely changed over the centuries. Ancient fossils and objects are spit out of its depths every day. It is a link to the past and the future. Scientists have said there are organisms in it that might give us clues as to what life on moons might be like.

Meaning and implications? That’s really not for me to say. All I can offer is that I was drawn to the lake as a symbol. I hope the whole book asks questions about language, the environment, sexuality, politics, the post-colonial condition. Asphalt from the Pitch Lake has reportedly been used to pave roads and runways all over the world including at Buckingham Palace and La Guardia Airport in New York. So too I hope my words travel.

In addition to the actual lake, Alfred Mendes’s 1934 novel Pitch Lake was also a presence. There is a bit of intertextuality. So there are lots of layers for me. Which I find interesting. Which says something about me and my sad life. Ha.

OPA: Some of your work is definitely a talking back to certain Caribbean iconic  markers, such as “Sargassum,” and others seem a mirror trying to break beneath skin and thought such as “Poui.” How do you attend to your craft, the development and debut of a poem?

AB: Each poem is its own thing, and it's not often easy to predict where or how the idea is going to find expression. The most thrilling part of writing is the preparation to write, yes, but also the moment when you throw everything out the window and just let things happen to you and your poem. ‘Sargassum’ references the sudden proliferation of that seaweed in recent years due to climate change, but of course, it’s also alluding to a history which reaches well beyond the Jean Rhys novel. I see ‘Poui’ as a kind of aubade.  

OPA: As poets, we sometimes write about our life or use it as a point of departure. There are hints of autobiography in some of your poems, but they feel more like pieces of a puzzle, the whole of which we will never get, or private revelations that is really  a mask for something else, for example, “The Lost Earrings.”

AB: The closing section of the book is a series of poems which I regard as small thought experiments, playing with the idea of narrative, interrupting linear notions of time, allowing a stream of consciousness to be dammed then released then remixed then reversed—each a curation of complex emotions. I’m always interested in what the reader finds and their journey.

As for autobiography and masking, think of it this way: a poem is a Carnival costume. It might have a lot of fabric and fancy trimmings. Or it might be slender and revealing. Always, we get a sense of the human body beneath. Always, the choice of mask reveals something about the wearer of the costume. Paradoxically, it’s when we deploy masks that we show more of ourselves.

OPA: As a gay man living in the Caribbean, specifically Trinidad, where homophobia was, and perhaps still remains an issue, how have you addressed that topic in your writing? And now that the buggery law has been struck down, and Trinidad had its first Pride celebration, do you feel safer as a gay man to express that topic more openly in your work as in the poem “After Andil Gosine”?

I don’t ever want to feel safe in my writing. I think the question of “openness” has a lot to do with expectations. Do we expect certain poets from certain backgrounds to always write poems about certain topics? When they defy us with poetry which is not overtly lined to any specific agenda does that make us inclined to regard them as hiding behind masks? Would we hold up heteronormative society to such standards? Are only certain types of poets allowed to deploy the fullest range of artistic expression and experimentation?

The ruling on the buggery law and our first Pride parade were touchstone moments which inspire hope. But the problem of homophobia in our society is a long-term problem.

I don’t address issues in my writing. I just write. And I let whatever comes to the surface rise. Hopefully, this brings me closer to a truth and that truth allows me to bridge different worlds, including worlds of diverse sexualities.

For me, the question of how open you get in your work is more about experience than a wider social narrative, though they undoubtedly blur. It’s like asking would you like to be the subject of a reality TV show or not? Each person has a different answer depending on their personality.

Some of my sexiest poems, or poems in which queerness is part of the fabric of the poem were written and published (and performed) years before recent developments.  

That said, every poem, no matter how clothed, is a deeply personal artifact. Take it or leave it. And poetry is a freedom that I am entitled to. Feeling free in real life does enable me, somewhat, to be braver in whatever I write. And, yes, who knows what a sense of freedom might bring to the mix.

OPA: I really enjoyed the “Art Teacher,” which seems strictly a prose piece, so I am curious about its inclusion in this collection?

It comes in the LAKE section, where I examine language itself, the idea of words forming an endless sea of (broken) narrative. The juxtaposition of a conventional linear narrative alongside the other pieces is meant to trigger comparison; to create the sensation of something suddenly out of place, complicating and interrupting the three-section schematic of the book. Part of me wanted to ask the question: what’s the distinction between prose and poetry? Why is a story not a poem? Heidegger says poetry is the essence of all other art forms.

OPA: Do you have any urge to write strictly prose, where the story element takes precedence?

AB: Poems tell stories. Stories can be poetry. Dylan Thomas. Borges. Baudelaire. All wrote both. That said, I do have those urges. I have lots of urges. Don’t we all? It depends on the pressure giving birth to a particular idea. It’s a matter of feeling things out. There are times when I have written the poem, then the story, then done the painting.

You can read the full interview here.

[torestoreamends]

Olivier Awards 2019: The Inheritance, Company, and Come From Away

This year’s Olivier Awards have just been handed out in an evening that seemed (over the radio) to be warm, equitable, fair, and celebratory. For me, having seen the vast majority of the nominated shows, there didn’t seem to be an award that went to the wrong place, and I was delighted to see such a range of different shows acknowledged.

I was particularly pleased that A Monster Calls won the Entertainment and Family category – it was a powerful and beautiful show, and I hadn’t really expected it to be honoured, even though it thoroughly deserved to be. My other shout out goes to Six which, although it didn’t win, is one of the most joyous and uplifting experiences I’ve had in the theatre this year. Tonight’s performance of the opening number slayed so hard it reduced me to tears even just listening to it on the radio.

The three shows I really want to talk about though are the three which each received four awards, and tied as the most rewarded shows on the night: The Inheritance (Best Lighting Design, Best Actor, Best Director, Best New Play), Come From Away (Outstanding Achievement in Music, Best Choreography, Best Sound Design, Best New Musical), and Company (Best Supporting Actor in a Musical, Best Supporting Actress in a Musical, Best Musical Revival, Best Set Design).

I saw all three of these shows – The Inheritance twice (once at the Young Vic back in May and once at the Noel Coward in January), Come From Away twice in just over a week (just after it opened in March), and Company once (on Thursday night during its closing week) – and even though I didn’t love them all, I can see why they won. Let’s start with Company.

Company

Actually, to say that I didn’t love this show is a bit of understatement – I didn’t get it at all. I found it intensely frustrating and lacking in plot, even though I was aware that it’s so widely beloved, and I wish I could have seen in it what so many others did. But it truly wasn’t for me.

Having said that, I understood that it was a landmark production of an iconic musical. Watching it, it was impossible to imagine it ever being performed with the original gender configuration: I can imagine that it must have been interminable.

I also appreciated the artistry of it. The lighting design was beautiful, the book immaculately crafted, and Sondheim’s music has been stuck in my head ever since. The set design and staging were also fascinating and reminded me why it’s so much fun to see be a regular theatre goer, because it allows you to see threads in people’s work – this one had subtle hints of Bunny Christie’s design for Curious Incident of the Dog in the Night-Time, and Marianne Elliott’s staging reminded me so much of Angels in America, with the way pieces of set seemed to disappear into a void at the back of the stage.

As for the performances, Jonathan Bailey absolutely stole the show as Jamie, and his Olivier win was one of the most effortlessly justifiable of the night. It was a physical, wordy, complicated number that he delivered with impeccable panache. Easily one of the best individual performances of the year, and I wish the show had featured him and his character more.

Although I didn’t get the appeal of this show, it was a valuable lesson for me in theatre as a craft, and in classic musicals. I’m glad I saw it and I’m glad it won the awards it did.

The Inheritance

This show – particularly its Part One – was one of those shows that speaks to the heart. Brutal in its imagery and interval placement, I found myself sobbing into my hands as the house lights came up at the end of three out of its six acts.

The image that will always live with me is the one at the end of the second act. As the name suggests, this is a play about inheritance and legacy – the inheritance of collective memory and knowledge, as well as a physical inheritance – and at the end of act two we see both literally go up in flames. The AIDs crisis laid waste to an entire generation of the queer community – it saw the loss of thousands of people who would have been our role models, writers, activists, friends, lovers, and mentors – and in the play, the main character is left a house that is a touch point with that generation, but before he finds out that he’s been given the immense gift of this inheritance, the deeds to the house are burned. Seeing the flames catch on those papers and reduce them to ash, robbing this young, gay man of yet another opportunity to meet with the lost generation, is one of the most heart wrenching expressions of loss that I’ve ever witnessed in the theatre.

I am grateful to this show and all who worked on it for bringing this dialogue between the queer community’s past and present to the stage. Although I yearn for a wider range of queer stories to be told on stage, nothing can be taken away from the power and beauty of this show. I am glad it was told to the world, and I hope it has further life in the future.

Come From Away

I first saw this show at the end of miserable week, on a Friday night, which also happened to be International Women’s Day. When I first heard of it I wasn’t very interested to see it, but when it came to the West End and I read more about it I grew curious. The ticket I bought that day on a whim came at the perfect time.

It’s 100 minutes in length and I can honestly say that I cried for the entire duration of the show that night. The sheer beauty of the music, the warmth of the story, the way it faces grief and loss with honesty and hope, all make it a truly special show.

One of the things I love about it (and the reason why I’m particularly pleased that it won the specific awards it did), is the way the music is used throughout the show. The music has a real narrative function. Every song is essential to the plot and drives it forward. Music and dialogue are seamlessly interwoven, to the extent that I couldn’t imagine how it would possibly work as a soundtrack.

It also feels important to mention the real life stories that have inspired the show. Nick and Diane’s story is one of my favourites, and I’m also truly grateful to have been introduced to Beverley Bass by the show. I mentioned that I first saw the show on International Women’s Day, and there could not have been a more perfect moment to hear the story of the woman who led the first all-female crew in the history of commercial jet aviation. There’s a moment during the song which focuses on Beverley’s story in which the women of the company stand and seem to be applauding her, and applauding themselves, and it’s one of those moments that gives you real hope as a woman – hope that the world will be better, that we can lift ourselves and each other up, and that we can achieve our dreams and fearlessly raise our voices.

People have said that this show gets one of the fastest standing ovations in the West End at the moment, and having seen it twice I can attest to this. Right now we need a reminder that there is kindness and goodness in the world, and that communities can come together to welcome strangers, no matter where they’ve come from, how they look, or what language they speak. This show is that, and it could not be more timely.

*

I truly think that tonight’s awards did justice to the breadth, diversity, and brilliance of this year’s London theatre scene. The fact that the big winners were a gender-switched show putting a woman at the heart of her own narrative, an epic story about queer existence today, and a musical about a community opening their doors and hearts in the face of tragedy, suggests that there is some justice in the world.

It’s been a great year, and here’s to the next. My money’s already on a Dear Evan Hansen sweep, but time will tell!