#united artists thea

[nova--spark]

Hello! Since your oc Anthea (I hope I spelled that right) needs some love, I was wondering,

What are her favorite hobbies/ food and how is her relationship with the Jasper trio in the Timeskip AU?

Oh, and before I forget, here is a little token for being an awesome artist and inspiration: 🫶

frejhsdn AW TY DEARIE!!

Hobbies

Anthea, prior to her accident, was actually a fan of dancing, and though she doesn't do it as often now, she has been picking it up now and again, regain a sense of normalcy in her life.

She also, in part because of her former work as a mechanic and robotics degree, has skills in both art and metalworking. So she enjoys sometimes welding small little metal trinkets, or sketching out plans for inventions, or sketching the bots in her free time.

Food

Her ethnic background being Latina, she enjoys lots of favorite foods, but one thing she will never turn down, is an order of birria tacos, and some spicy chips.

Jasper trio wise, I answered PRE-Timeskip but!!

Whenever Thea visits Jasper, she has a great time seeing how the trio has changed since last time.

Miko: Thea and Miko are easily very compatible, and she gets that Miko's reckless streak is her trying to find herself. Plus, a 5ft something kid who's down to go toe to toe with cons in a giant battle armor? Respect. She and Miko often have small sparring matches, or chill while listening to the latest music album either of them got their hands on. Miko finds Thea's cybertronian prosthetics beyond cool, and wishes she had her own. Thea reminds her about the Apex Armor, so that Miko won't have to lose her legs.

Raf: Having always thought of Raf as her little brother, Thea taught him all her tricks related to robotics, and programming. When she heard about Bee's return, Anthea had half a mind to dent in his helm for not reaching out, especially with how Raf was hurt. She's still tempted to, but she's also proud of how Raf has grown. Whenever she has downtime on her visits, Thea will let Raf tinker on her prosthetics and help calibrate or even add new features into them.

Jack: The most chill of the Jasper Trio, Thea and Jack's relationship is nothing grandiose. What she does offer though, is a shoulder to cry on, or an ear to vent to when it comes to his responsibilities in leading Unit: E, reigning in Miko, and trying to figure out life when he's just 19, on the cusp of 20 and wondering how she has her life together.

Truth is, she doesn't, she's still figuring things out, so...she tries to just tell him that. To treasure the years of immaturity and reckless behaviour, but be ready to own up to it.

[pandoramsbox]

Sci-Fi Saturday: Woman in the Moon

Week 5:

Film(s): Woman in the Moon (Frau im Mond, Dir. Fritz Lang, 1929, Germany)

Viewing Format: Streaming - Kanopy via San Francisco Public Library

Date Watched: June 6, 2021

Rationale for Inclusion:

Including Woman in the Moon (Frau im Mond, Dir. Fritz Lang, 1929, Germany) on this survey came down to two reasons: curiosity about Fritz Lang's sci-fi follow up to Metropolis (1927, Germany) and the film's reputation as an early cinematic work of "hard" or "serious" science fiction.

For those not familiar with the term, for something to qualify as "hard" science fiction, the technology and world building needs to be based on available scientific facts, and theoretically, realistically possible. Its counterpart, "soft" science fiction comes up with fantastic notions, technology and worlds without much attention given to how these things could be produced in the real world. Neither approach is necessarily a superior way to craft a good work of science fiction. Whether you draw blueprints, or "just make it up," both paths have inspired, or predicted, later technology.

Lang's Metropolis is undoubtedly soft science fiction; its set pieces being more artistic than scientific. Witnessing him take a more factual approach to science fiction, with a foundational figure in the field of rocketry and aeronautics, Hermann Oberth, acting as consultant was an intriguing premise. 

Reactions:

Despite knowing that Woman in the Moon was a work of science fiction created with input from a German rocket scientist, my partner and I were still not fully prepared for the way space travel in the film used realistic multi-stage rockets, and depicted methods for how the rocket's passengers would deal with takeoff and landing G-forces and zero gravity in between. Logically, we knew our Space Race history and should not have been surprised: the United States imported Nazi Rocket scientists to help build its space program for a reason (i.e. the V-2 rocket). Yet seeing what became common operational features on a fictional spaceship in 1929, 17 years before the first US V-2 tests, was a paradigm shift.

For this reason, the detail that most sticks in my mind about this film is that the spaceship had leather handles all over its walls, to help passengers navigate around the ship in zero gravity.

However, as much as Woman in the Moon correctly prefigured many details of crewed space travel, it still got some things wrong. When the crew of the Friede reaches the far side of the moon, they discover that it has a breathable atmosphere, as theorized by astronomer Peter Andreas Hansen, and subsequently explore the surface without environmental suits or even oxygen tanks.

As much as I appreciate the film citing its sources, they picked a source that would save on budget and elevate the theories of a German scientist. Perhaps it was a legitimate belief in Hansen's work, not convenience or patriotism, that led to this choice, but the facts remain that an astronomer from the Republic of Ragusa (present day Croatia), Roger Joseph Boscovich, had correctly theorized 85 years prior that the moon lacked a breathable atmosphere. 

Yet, I do not think the use of Hansen's theories over Boscovich's detracts from the hard scientific elements of the narrative that turned out to be correct. I think Lang, or screenwriter and author of the novel on which the film was based Thea von Harbou, just wanted serious sci-fi elements and its protagonists to have the ability to kiss on the moon without spacesuits getting in the way. Even the best intentions of hard sci-fi can be derailed by mainstream romance conventions.

In revisiting this film for this blog post, it's admittedly hard to recall the plot without details from films we later watched from the 1950s interceding. The core facets of Woman in the Moon--an experimental rocket ship, a love triangle, stowaways, loss of a necessary component that imperils the crew's ability to return home--would be remixed and reused in similar films about experimental space flights to Earth's moon or Mars, such as Rocketship X-M (Dir. Kurt Neumann, 1950, USA) and Conquest of Space (Dir. Byron Haskin, 1955, USA). Yet this confusion only reinforces the status of Woman in the Moon as essential sci-fi cinema viewing: it told a semi-realistic tale of experimental crewed spaceflight decades before it became a bona fide sci-fi film sub-genre.

[alexesguerra]

Cooking for Wizards Warriors and Dragons 125 Unofficial Recipes Inspired by the Witcher, Game of Thrones, the Broken Earth and Other Fantasy Cooking for Wizards, Warriors and Dragons: 125 Unofficial Recipes Inspired by the Witcher, Game of Thrones, the Broken Earth and Other Fantasy Favorit Contributor(s): James, Thea (Author) , Minunni, Isabel (Author) , Foley, Tim (Illustrator) Publisher: Media Lab Books ISBN: 1948174758 Physical Info: 0.8" H x 9.4" L x 8.2" W (1.4 lbs) 176 pages 125 unofficial recipes inspired by The Witcher, Game of Thrones, The Broken Earth and other fantasy favorites "--Cover. Biographical Note: Thea James is the author of Cooking for Wizards, Warriors and Dragons and editor and Hugo Award-winning co-founder of The Book Smugglers (a science fiction and fantasy book review blog). A hapa (half) filipina-american who was born in Hawaii and grew up in Indonesia and Japan before moving to the United States, Thea is a passionate advocate for the importance of diverse voices in SFF. She is a full-time book nerd who works in publishing and currently resides in Astoria, Queens with her partner and rambunctious cat. Isabel Minunni is a cook, recipe developer and food writer. She created the popular food blog Bella's Banquet (bellasbanquet.com), and has won numerous food and baking competitions, including being named 2014's "Best Italian Chef" by Chef Jeff Mann and Maggiano's Little Italy restaurant chain. One of her favorite cookie recipes was selected from among 4,000 entries for inclusion in The Barnes & Noble Cookie Bake-Off. Her numerous TV appearances include both Today and Live with Kelly & Michael. Review Quotes: "Happiness is a beautiful intersection between good food and good books, and Thea's culinary offering hits the spot with both! Prepare for a feast!" -Rin Chupeco, author of the The Bone Witch trilogy "This is a compilation of recipes from some of our favorite fantasy worlds that we've all been dying to try. This means small snacks for your epic journeys or massive meals to share with your companions. A lot of these recipes are things we've only dreamed of trying!... Most recipes are fairly straightforward and don't require a lot of fancy techniques to get the fantastical effect you're going for.This is truly a masterpiece of a cookbook!" -- Cookbook Divas "A great cookbook that can bring a delicious element of fun to mealtimes with a bunch of diverse fantasy-inspired foods." -- Twin Cities Geek "The designers behind this book really should win some sort of prize. A beautiful and thoughtful book." -- The Starving Artist Publisher Marketing: 100+ Spell-Binding Recipes Inspired by Diverse Fantasy Worlds, from The Witcher to The Broken Earth Created by Hugo Award-winning co-founder of The Book Smugglers, Thea James, Cooking for Wizards, Warriors and Dragons collects recipes inspired by fantasy classics and groundbreaking new voices, including: Andrzej Sapkowski's The Witcher, N.K. Jemisin's Broken Earth Trilogy, Robert Jordan's The Wheel of Time, Tomi Adeyemi's Legacy of Orïsha, Patrick Rothfuss's The Kingkiller Chronicle , Tamora Pierce's Song of the Lioness , and many more. Fortify yourself for the road with classic dishes, such as Pernese Meatrolls or Geralt's Life Saving Chicken Sando. Embrace your dark side with King's Landing Barbecue smoked meats a la Daenerys, channel your inner Saruman with Charred Broccoli Stalk Salad, or a Fifth Season-inspired Solving the Meat Shortage Osso Bucco. Learn to make your own Grishaverse-inspired Butter Week Cakes or Orïshan Coconut Pie, and try your hand at a Spiritwalkerverse-inspired Lamb Tajine. Organized by different meal types and ingredients (including Breakfasts & Second Breakfasts, Soups & Stews, The Hunt, The Farm, The Catch, Snacks & Sides, and Desserts), Cooking for Wizards, Warriors and Dragons includes illustrations from noted artist Tim Foley and recipes developed and tested by professional chef Isabel Minunni. With five bonus feast spreads, this grimoire is sure to sate hungry readers from any realm. Contributor Bio:James, Thea Thea James is the author of Cooking for Wizards, Warriors and Dragons and editor and Hugo Award-winning co-founder of The Book Smugglers (a science fiction and fantasy book review blog). A hapa (half) filipina-american who was born in Hawaii and grew up in Indonesia and Japan before moving to the United States, Thea is a passionate advocate for the importance of diverse voices in SFF. She is a full-time book nerd who works in publishing and currently resides in Astoria, Queens with her partner and rambunctious cat. Contributor Bio:Minunni, Isabel Isabel Minunni is a cook, recipe developer and food writer. She created the popular food blog Bella's Banquet (bellasbanquet.com), and has won numerous food and baking competitions, including being named 2014's "Best Italian Chef" by Chef Jeff Mann and Maggiano's Little Italy restaurant chain. One of her favorite cookie recipes was selected from among 4,000 entries for inclusion in The Barnes & Noble Cookie Bake-Off. Her numerous TV appearances include both Today and Live with Kelly & Michael. Contributor Bio:Foley, Tim Tim Foley was born in Flint, Michigan, and since attending college at the Kendall School of Design, has made his home in Grand Rapids on the west side of the state. A freelance illustrator for the past three decades, his work has appeared in magazines and newspapers around the world and books have included many titles in the bestselling young adult "Who Was" biography series, as well as several adult coloring books.

[mr-divabetic]

"I needed to explore my talent and versatility and see if I had another side to me, another sound," says Brandy Norwood. Singer, songwriter, and actress Brandy Norwood is from McComb, Mississippi. Brandy received her first recording contract with Atlantic Records while she was still in 9th grade of high school. Soon, she also received a role on an ABC television sitcom, Thea. The song “I Wanna Be Down” from her debut album, "Brandy," reached the No. 1 position on the Billboard Hot 100 charts, staying there for four weeks in 1994.

Brandy returned to acting in the UPN sitcom “Moesha”. The popular show ran for 6 seasons, and Brandy received an NAACP Image Award.Brandy released her second album, "Never Say Never," featuring the duet, "The Boy Is Mine" with Monica.  The song reached the #1 spot on the US Billboard Hot 100 charts and won the Grammy for “Best R&B Performance by a Duo or Group with Vocals”. Brandy's "Never Say Never" became the bestselling R&B album of 1998 in the United States and sold more than 16 million copies worldwide.“In my life right now, in my music, and just overall I feel like I'm winning. It doesn't matter what this person is saying or what the charts are saying or what award shows are saying, the public opinion doesn't matter. I feel like I'm winning in my spirit.” Her success brought her the chance to work with Whitney Houston on the TV movie Cinderella. Brandy said, "Whitney Houston is my idol and my mentor and my dream forever, like she will always be my favorite artist, ever, on the planet. I don’t think I’ll ever feel that way about another artist.” Over the years, Brandy has also dealt with heartache and tragedy. Sadly, she was involved in a heavily publicized car accident in 2006. “I went through a struggle, and I really needed to get myself together and connect with my purpose, which is music.”

In April 2015, Norwood made her Broadway debut as Roxie Hart in the musical "Chicago." 

Most recently, Brandy 

announced her major label return after signing with Motown Records under which she will be releasing new music.  “It just feels like I’m on the right path musically and I’m in the right mindset to continue out my mission in music because I’m not putting myself in a box.”

[dirtybarn]

Between Lines is a Poetic Thoughtful Animated Short by Sarah Beth Morgan

Between Lines is an animated short film created entirely by an all-women team, directed by the talented Sarah Beth Morgan. The story is about the scars created by bullying in high school and lifelong recovery of these memories. Puberty, growing up, and the discovery of self are traumatic enough to process. However when school dynamics and bullies added to the equation, teenage years might become a burden. Maybe because we saw many coming of age stories in feature films focusing on the troubles of growing up, adjusting to problems, dealing with uncertainties. There is no denying that bullying creates deep scar on people and they spend so much time on themselves to recover past traumas. The narrative in Between Lines follows a young woman's journey as she navigates isolation, exclusion and anxiety. Out of the trauma, blooms a sense of healing and connection. There is no single definitive way to make your peace with your past but either way the happiness and relief comes within.

Sarah Beth Morgan, a director and illustrator currently based in Cleveland, OH, United States, grew up in Saudi Arabia. She attended the Savannah College of Art and Design and had early career experiences at Scholar and Oddfellows in LA and Portland. Currently, Morgan works from her own studio in Cleveland. And as a personal impression, Morgan's work feels sincere, down-to-earth and approachable to manies. Her animations and illustrations are neat, humble and taking you to a polished, clean environment that could trigger a positive emotions instantly.

Between Lines: "I wanna subway map of my invisible scars."

Between lines successfully completed its festival stint by getting recognition and awards from many organizations; including Brooklyn Film Festival – Audience Award for Animation, Pictoplasma Berlin – Official Selection, SCAD Savannah Film Festival – Official Selection for Global Shorts Forum. Sarah Beth Morgan's moving short animation made its online premiere on January 24, 2023. Though I discovered it late, I've come to realize that great works are timeless on the internet. Today is my day to meet 'Between Lines.' The poetic narrative, moving animation and eye-catching visuals; Between Lines artistically could be your best two minutes today. Check out Sarah Beth Morgan’s website, Vimeo and Instagram and Between Lines' website. And discover over 30 talented women who make Between Lines happen from here. https://vimeo.com/792244354  

CREDITS

Director: Sarah Beth Morgan Animation Director: Taylor Yontz Producer: Rebekah Hamilton VO / Sound / Music: Jennifer Pague Art Direction: Sarah Beth Morgan Design: Nuria Boj, Caroline Choi, Sarah Beth Morgan, Sara Ariel Wong Animation: Margaret Bialis, Erin Bradley, Amy Charlick, Esther Cheung, Rocio Cogno, Julie Craft, Antoinie Eugene, Thea Glad, Amanda Godreau, Michelle Grepo, Sami Healy, Yahira Hernandez, Jasper Hilgers, Yino Huan, HyoBin Kang, Collin Leix, Katherine Pryor, Rachel Reid, Issey Roquet, Anna Taberko, Aly Tain, Camille Vincent, Pip Williamson, Khylin Woodrow, Rachel Yonda, Taylor Yontz Story: Sarah Beth Morgan Poem: Nirrimi Firebrace Mix by: Hope Brush Strings Producer: Sophie Coran Violin: Shelby Yamin Cello: Nicole Boguslaw Strings Recorded by: Michael Cumming at Treacle Mine Recording Special Thanks: Hornet, Dez Stavracos, Tyler Morgan, Molly Bowman Images: betweenlines.com, Vimeo Read the full article

[tiptapricot]

bestie help... i can't sleep because i'm being plagued with visions of old gay people (bnt)... ik you've mentioned a few things about them in middle age in another hc post but i would bw delighted to hear any more thoughts if you had some 💖

Ohhh I can try!! I’m placing middle aged BnT post FtM since that’s an area I haven’t explored as much

Life after saving all of time and space is… strange. In a lot of ways it’s not that different, and in others it reaaaally is

One one hand, Bill and Ted still live in the same houses, they still go over to jam with each other every day, they still have their kids and their wives, but on the other, there’s stories of them and their family all over news sites and social media, Wyld Stallyns has rocketed back to worldwide success, and they both have this creeping feeling that maybe their marriage issues weren’t meant to be fixed at all….

Being in the cosmic nexus of a destiny-achieving, existence-saving event with your best friend kind of changes your perspective on a lot of stuff

The paparazzi mellow out after a year or so, but they still have people coming up to ask for autographs and to give thank yous, and news stories are still running mundane updates on them at the end of reports, and all the stores they’re regulars at give them discounted drinks, and it’s strange

The world as a whole has had a shift, too, a good one

Reports after the fact described the event as time and space being twisted and punctured and stretched like putty or rubber, and though most things ended up back to normal, there were still after effects, fingerprints and bumps left in the wake of a near disaster

For a few weeks after The Song That United The World was played, the whole planet was thrumming with leftover energy. It was the most creative humanity had ever been. Artists, singers, painters, writers, sculptors, architects, actors, mathematicians, everyone was spurred on by a bone deep inspiration, and the world created

People became kinder to each other too, gentler and more open and caring, sensors found that the global temperature had miraculously dropped to safe levels, nature started growing back at a faster more vivacious rate, and a scientist discovered that Wyld Stallyns’ music contained an inherent connection to the cosmic vortex, and as a result, made a perfect and sustainable source of green energy when played

So much happened, and yet Bill and Ted… stayed Bill and Ted

They don’t have the same weight and hopelessness as before, they have a stable music career and their kids have been helping produce all the songs they came up with in the Great Creativity Boom, and they don’t feel any different, but that’s the thing

The story that they would unite the world always seemed so distant, and then it became reality in the course of a few days. Even a year after the fact, it’s still a lot to take in

That and… the fact that Bill and Ted can’t stop looking at each other differently

They keep having moments, while hanging out in the garage, where they’ll just find themselves staring at each other, hip to hip on the couch, and there’s something different there than there was before. Or maybe they just didn’t notice it until now

Bill talks to Jo about it, and Ted does the same with Liz. They’re hesitant, because after working to hard to stay together, wouldn’t it make that pointless if they ended things now?

It’s a lot of late night talks, a lot of hugs and snuggling

Jo and Bill have talked about similar stuff before, about Bill’s long standing feelings for Ted, and about Jo’s attraction to women, but they still thought staying in a relationship would be best. But now that Bill’s been seeing how Ted looks at him, he realizes maybe it’s not after all

It’s all new for Ted though, and it’s kind of difficult for him to wrap his head around. Liz sits on the back porch with him and they share drinks and watch the stars and just… talk. Realizing you’re in love is a big thing after all

The divorces are easier than any of them expect, and it’s like a weight is removed from their shoulders afterwards, a new sense of freedom

They decide to have Jo move in with Liz and Ted with Bill, a similar set up to what they did in their early 20s, and start moving their things over

In a lot of ways it does feel the same as moving out after graduation, only this time, when Ted brings his last box of stuff in, when it’s just him and Bill standing in the entryway sweaty and smiling, he takes a step forward, and takes Bill’s face in his hands, and traces a thumb over his cheek as Bill smiles and closes his eyes, and leans in to kiss him

It’s not a movie moment, nothing dramatic and huge, and yet it is the sweetest kiss Ted “Theodore” Logan has ever had

It’s easy to go back to living with each other again, they work together just as well as they always have, only now there’s a new kind of domesticity seeping into the cracks of their life

Casual touches, slow dances in the kitchen and living room, the sleepy weight of the other person’s body against theirs in bed

Bill asks about marriage one night, when it’s just them, when only Ted will feel his breath and the way he shifts to be closer to his chest, and Ted says, “Yeah… I’d like that.”

They don’t invite too many people. They keep it close family and friends. Missy takes Bill suit shopping and Liz helps Ted pick out a dress, and Billie and Thea perform a fantastic song at the reception

The next day they wake up to the news that three thought to be extinct species have been rediscovered

Bill likes to kiss Ted’s wedding ring, and Ted uses the word husband like he’ll never get another chance, and they are so damn happy

Sometimes it can still be rough. They still have sleepless nights where their heads are full of thoughts of other timelines and flashing visions of distant galaxies and the infinite tangle of time, but they have each other when that happens

They can talk about what they see, about the changes. Bill can squeeze Ted’s hand and snuggle into his neck, and they don’t have to think about prison yards or their own cosmic importance

Through it all, with each other they are allowed to be Bill and Ted, nothing else, and that’s the greatest destiny either of them could ask for

Headcanons masterpost

[orindas]

18 queer people in a small town being chaotic you say👀

Tell me more👀

aaaaa thank you for enabling me <333333

ok so this is the brain child of me processing a bunch of stuff from my old school while listening to queer country music and so I just took a bunch of inspiration from my own experiences and people that I knew and made it gayer and more dramatic 👁

so it’s set in this small town in the southern united states in a super conservative town and I have the main characters set up into 3-4 groups based on age (I have so many I might turn it into several short stories focusing on a few characters each? idk yet) and all of them went to the religious school in town and the ages of the characters range from like 15-21 I think??

i’m probably only going to go through the oldest ones since this is super long ajdkdlsksk so the first group is the ones who are like 21 ish and its laynie, caroline, owen, anika, thea, and charity.

laynie and caroline were best friends as kids and had a huge falling out in middle school because laynies mom was super controlling and mean and they spent high school hating each other. they went to separate colleges but over the summer when they are home they end up together at a party and just talk the whole time and become friends again. owen had a bunch of mental health issues during high school and moved out at 17 to new york. he found an amazing group of friends and became a drag queen. the thee of them end up in a poly relationship together after laynie and caroline stay with owen for a little bit while laynies aunt who she was super close with was in the hospital.

anika and thea have an enemies to lovers thing going. thea is charity’s best friend and they were like the super good religious girls in school whereas anika is this amazing soft butch artist saving up to go to art school. they hated each other in school but then got together after the graduated since neither of them went to college right away but they kept it a secret because ya know being in a sapphic relationship in a small town is not where it’s at😐 they end breaking up and staying good friends when anika leaves for art school but it’s super happy because they both figure out where they need to be in life and right now it’s not together, right person wrong time sort of deal.

as for charity, she is the classic ‘dated the same guy through all high school married right after graduation and then stays as a stay at home mom for the rest of her life’. she has crazy religious parents and never really had any other options she’s the third of ten kids and it’s insane. anyways her story is about figuring out her identity and finding a home in the queer community. also she kills her husband and that’s super cool (he deserves it).

the last one i’m going to go through is mimi and claudia, who are a lesbian couple in their like sixties. they own this super cute bakery/cafe/coffee shop in town and they used to live in nyc but ended up there for claudias family. I love them. after charity’s husband dies of ‘natural causes in his sleep’ she gets a job at their shop and they tough love her through her queer journey. I love them so much queer wine aunts basically

the other ones are all siblings or cousins of these ones and have a study group that ends up meeting at claudia and mimis! thank you so much for letting me ramble about them🥺

[comparativetarot]

Two of Coins. Art by Celeste Pille, from The American Renaissance Tarot.

“The Two of Coins for The American Renaissance Tarot. Here we’ve used the pain on William Wells Brown’s face to dramatic contrast with the happy-go-lucky role he was made to play as a slave. The hare represents the Yoruba trickster character that got translated to “Brer Rabbit” in the United States.” — Thea Wirsching

“The Two of Coins depicts a particularly painful section of Brown’s story, where he talks about how, as a slave, he was ordered to assist a slave-trader in setting the slaves to dancing and music-making so that they would sell for more on the auction block. I think our artist has captured the bitter poignancy of the scene - Brown, dressed in the offensive Jim Crow minstrel costume, shows his turmoil in his face. The gray background and menacing hare, symbol of the African trickster figure, contribute to the ominous feel. This card is our ode to the idea of 'double consciousness' coined by W.E.B. DuBois.“ — Thea Wirsching

[tcm]

Holocaust Remembrance: Those Who Survived and Came to Hollywood By Raquel Stecher

Officially established by the United Nations in 2005, January 27th is International Holocaust Remembrance Day. This day honors the 6 million Jewish victims as well as the millions of other victims of the Holocaust. It also marks the anniversary of the 1945 liberation of Auschwitz-Birkenau by the Red Army.

From the time Hitler came to power and throughout WWII, actors, directors, producers, composers, production designers and other members of the European film industry emigrated to Hollywood to escape the Nazi regime and to begin a new phase in their careers. Some artists fled at the first sign of trouble, others were able to escape even in the face of real danger while others were interred in concentration camps and German POW camps. Many lost family members, some nearly lost their own lives but, in the end, they persevered in the face of adversity and lived to tell the tale. Here are some of their extraordinary stories.

Michael Curtiz

According to Michael Curtiz biographer Alan K. Rode, the director did everything he could to get his family out of Hungary. Curtiz arranged transport for his mother and got her housing in Los Angeles. He relocated his brothers David and Gabriel to Tijuana, Mexico where they waited for two years before being allowed entry into the United States. And Curtiz may have employed the help of Jack and Harry Warner to get the U.S. Army Air Corps to transport his sister out of Hungary. Curtiz’ brother Lajos and sisters Regina, Margit and Kornelia decided to stay behind. Margit and her family were eventually interned in Auschwitz and while Margit and her daughter survived, her husband and second child did not.

Audrey Hepburn

Born in Belgium but raised in England, Audrey Hepburn’s parents were pro-Fascists. After their separation, Audrey’s mom Ella moved the family to the Netherlands and joined the Dutch resistance. Before becoming an actress, Hepburn studied as a dancer and her skills were put to good use when she was commissioned by local resistance leader Dr. Hendrik Visser‘t Hooft to perform dance numbers at underground meetings known as “zwarte avonden”, aka black evenings. This was a way to earn money to help fund the Dutch resistance’s efforts to hide or transport Jews across the country.

Martin Kosleck

German actors who fled Europe for America often found themselves playing Nazis in Hollywood productions. Actor Martin Kosleck played Minister of Propaganda Joseph Goebbels 5 times including a role in CONFESSIONS OF A NAZI SPY (‘39), considered the first anti-Nazi film. Kosleck himself was an outspoken opponent to Hitler and the Third Reich and fled Germany in 1931 when a warrant was issued for his arrest. A few years after he left, he was placed on the list of Gestapo’s “undesirables” and was tried and sentenced in absentia but remained safe in Hollywood.

Fritz Lang

Lang’s celebrated film METROPOLIS (‘27) was one of Adolph Hitler’s favorite films. The director caught the eye of both Hitler and Goebbels, the latter had even offered Lang the job of head of the German Cinema Institute which Lang eventually declined. Shortly after the premiere of THE TESTAMENT OF DR. MABUSE (‘33), Goebbels banned the film for inappropriate use of Nazi party slogans. Lang claimed that Goebbels then offered him another job as production supervisor at UFA which he declined. Lang’s Jewish heritage was no problem because according to Goebbels “we’ll decide who’s Jewish!” Lang wisely left Germany for Paris and eventually made it to Hollywood. His soon-to-be ex-wife and longtime collaborator Thea von Harbou joined the Nazi party and eventually wrote and directed propaganda films.

Curt Lowens

Actor Curt Lowens’ story of surviving the Holocaust was one of bravery and sheer luck. Born in Poland, Lowens’ father was a highly respected attorney and his mother was an active member of the local Jewish community. His father moved the family to Berlin in hopes that he would find more work among the large Jewish community in that city. As the political climate changed, the Lowens planned to emigrate to the US by way of the Netherlands but the Germans invaded the day they were supposed to leave. Lowens’ father’s connections helped saved them from deportation to Auschwitz and eventually got them out of Westerbork. The family went into hiding and Curt Lowens changed his name to Ben Joosten and became an active member of the Dutch resistance. On V-E Day, Lowens rescued two members of the US Army Air Corps for which he received a commendation from General Dwight Eisenhower.

Branko Lustig

Croatian producer Branko Lustig is best known for his work on SCHINDLER’S LIST (‘93). Lustig himself was a survivor of both the Auschwitz and Bergen-Belsen concentration camps. In his acceptance speech for the Best Picture Oscar for SCHINDLER’S LIST, Lustig said, “My number was 83317. I’m a Holocaust survivor. It’s a long way from Auschwitz to this stage. I want to thank everyone who helped me to come so far. People died in front of me at the camps. Their last words were ‘be a witness of my murder. Tell to the world how I died. Remember.’” Lustig hoped that his work on the film helped fulfill his obligation to the innocent victims of the Shoah and that we will never forget what happened to them.

S.Z. Sakall

The actor affectionately known as “Cuddles” was born Gero Jeno in Hungary in 1883. Early in his acting career he changed his name to Szöke Szakall (aka Blonde Beard) which was later shortened to S.Z. Sakall. The Jewish Sakall performed on stage and in film in Hungary and Austria. In his autobiography he remembers a chance meeting with Hitler, who openly criticized Sakall’s recent picture A CITY UPSIDE DOWN (‘33). Years later Sakall and his second wife Anna Kardos fled for Hollywood. Many members of Sakall’s family, including sisters, nieces and in-laws died in concentration camps. Sakall almost turned down the role of Carl the head waiter in CASABLANCA (‘42) because he thought it might be too much to bear.

Roman Polanski

Born in France but raised in Poland, by the age of nine Roman Polanski and his parents were deported and separated from each other. In an interview with the Hollywood Reporter, Polanski recalls that his pregnant mother was most likely killed upon arrival to Auschwitz. His father was interned at the Mauthausen camp in Austria and managed to survive the ordeal. Polanski himself avoided the concentration camps by changing his name to Romek Wilk and fleeing to the countryside where he hid until the liberation. His experiences influenced his film THE PIANIST (2002) although he claims that the film was in no way autobiographical. 

Douglas Sirk

In 1934, the German director divorced his first wife Lydia with whom he had a son Klaus. Both Lydia and Klaus joined the Nazi party and because Sirk’s second wife Hilde was a Jewish woman he was not permitted to have contact with his son. Klaus was a child actor in numerous Nazi propaganda films and eventually served as a soldier in the German army and died on the battlefield in 1944. While filming in the Netherlands in the late 1930s, Sirk was contracted by Warner Bros. and he and his wife fled the Nazi regime for a new life in Hollywood.

Otto Preminger

A few years before Otto Preminger moved to Hollywood, he was offered the position of director of Austria’s state-run theater, the Burgtheater, which required that he convert from Judaism to Catholicism. Preminger turned down the offer. This was a good decision on Preminger’s part because it allowed him to later take Joseph Schenck’s invitation to work in Hollywood. Also, religious conversion would not have protected Preminger from the Nazi regime. Preminger left in 1937 and his parents and brother stayed behind. When Austria was invaded in 1938, they found refuge in Switzerland.

Conrad Veidt

The German born star of films like THE CABINET OF DR. CALIGARI (‘20) was not Jewish himself but stood in solidarity with wife Lily who was. When Goebbels required actors in the German film industry to declare their race Veidt made the bold decision to declare himself on the form as Jude (Jew). This infuriated Goebbels who proclaimed that Veidt would never work in Germany again. He and his wife fled for England in 1933 and later emigrated to Hollywood. Veidt would go on to play Nazis on screen including his part as Major Strasser in CASABLANCA.

Fred Zinnemann

Austrian director Fred Zinnemann started off as a concert violinist and a law student before transitioning to a career in film. He left for Hollywood in 1929 seeking better opportunities. His film THE SEVENTH CROSS (‘44) was one of the first to acknowledge the existence of concentration camps. Unfortunately, Zinnemann lost both of his parents in the Holocaust. According to a page of testimony Zinnemann filed on behalf of his parents for the Martyrs’ and Heroes’ Remembrance Authority in 1984, his mother Anna most likely died in Auschwitz in August 1942 and his father Oskar died in Belzec around December 1941.

[conorxoblivion]

{ B A S I C S }

LEGAL NAME: Dorothea Craven Unknown

NICKNAMES: Thea None

ALIAS: Conor

GENDER / PRONOUNS: Female / She/Her

AGE: 28 years old

DOB: January 25th, 1893 Unknown

PLACE OF BIRTH: New Orleans, Louisiana, USA Unknown

YEARS ON MERIDIUM: 99 years

ATTUNEMENT: Air

NATIONALITY: American Unknown

ETHNICITY: African-American, African-Haitian, & white ( English, Irish, French, & German ) Unknown

OCCUPATION: Pilot Unknown

LANGUAGES: English (fluent), French (fluent), Creole (conversational), ASL (elementary proficiency/conversational)

RELIGION: Agnostic 

ORIENTATION: Demisexual Biromantic

DRINK | SMOKE | DRUGS: OCCASIONALLY | NO | NO

{ P H Y S I C A L  A T T R I B U T E S }

HAIR COLOR: Black

EYE COLOR: Brown

HEIGHT: 5′-6″

WEIGHT: 134 lbs

TATTOOS: --

SCARS: --

{ P E R S O N A L I T Y }

TRAITS

+ spunky, daring, witty, charming, bold, dedicated

- challenging, outspoken, impulsive, reactive, skeptical

MBTI: ESFP

ALIGNMENT: True Neutral

LIKES: TBD

DISLIKES: TBD

GOALS/DREAMS: TBD

FEARS: TBD

{ R E L A T I O N S H I P S }

PARENTS

Unknown (mother) - Deceased

Unknown (father) - Deceased

SIBLINGS

Unknown

ROMANTIC

Unknown

{ B I O G R A P H Y }

trigger/content warnings: none

OFFICIAL BIOGRAPHY

You were born to a small family, or at least you think you were. You might have been married judging by the tan line from a ring on your finger, but the ring is long gone along with any other kinds of belongings or items to indicate who you are. You can’t be too sure these days and it’s not because of the years that have passed on this island. The only thing you remember are the waves, the salty air, and the sand. When you woke up, everything was fuzzy and your head ached. How you got there, why you were there, and when you got there. You don’t even know when you’re from. Most importantly, you don’t even know yourself or who you’ve left behind.

When you first woke up, you were floating on a piece of wood and you just couldn’t seem to drown. When you woke up a second time, you were somewhere on an island, far away from anyone. You lived on the island for some time without having contact with anyone, hiding whenever you heard a strange noise, thinking you were alone on this island. You were scared because you don’t know who or where you are. Somehow though, you have enough sense and skill to take care of yourself. Eventually, someone finds you as you talk to yourself and mark the days you’ve spent on the island on a tree. You don’t know how they heard you, but they did. Once they told you everything was okay, all the dust settled and the breeze stopped blowing.

You choose a new name for yourself because you don’t remember your real one. You are shy at first, but soon take on a new personality. You aren’t too sure about how “new” your personality is, but no one on the island knows you or has even heard of you. The tan line on your ring finger slowly fades away and you begin to forget about who may be missing you. And as the years go by, you can’t even be sure what year you are from. You call yourself the woman out of time as you lose track and learn new things from new castaways. You live among the survivors unattached to people and you act indifferent and carefree, claiming you’ve moved on and live in the now. Still, you can only hope though that eventually, the next survivor will have some information as to who you are.

PRE-MERIDIUM

Dorothea “Thea” Craven, was born in 1893 and grew up in the early 1900s during the height of aviation. She became interested in flying at a young age and was very determined and adventurous. She eventually learned to fly and made it her life and a career. 

Her family traveled quite a bit when she was younger and learning to speak, so she developed an interest in adventure and languages. Because of this, her accent is difficult to pinpoint. Some may call it a Transatlantic or Mid-Atlantic accent. Her free spirit never changed and she ultimately became a pilot. It is unknown what she was a pilot for whether it was for military, expeditionary, or show purposes.

When Dorothea wanted to become a pilot, she was not allowed to obtain a license at that time in the United States. She ultimately ended up moving to France for a time to take lessons and earn her license.

MERIDIUM

She crash landed in the water around Meridium while she was on a solo flying expedition. It is unknown how and why the plane crashed and whether it was a strange malfunction, pilot error, or sabotage. She has been unable to recover the wreckage of the plane and is unable to determine what really happened to her. 

When Thea landed in the water, she hit her head and when she woke up, she had no memory of who she was or how she got there. She didn’t even know she was flying the plane that crashed. She woke up on a piece of wreckage from the plane and soon floated until she hit land. It is suspected her air attunement manifested shortly after landing in the water as she never drowned.

She landed on a side of the island where no one saw her and she thought she was alone. She survived on the island for a few days until she was found by the rest of the survivors on Meridium. Before she was found, she hid from any slight noise that was made, even if it was far away, which she didn’t realize was far away.

Since she didn’t know her name, she chose a new one for herself. She settled on the name Conor, but she wasn’t entirely sure why she chose it. It just spoke to her. 

Conor doesn’t remember anything about where she was from, who her family was, or even what year she’s from. She remembers skills and some historical facts, but gets things confused, especially since she’s learned so much about current events from newer survivors. 

More will be updated as Conor learns more about herself / as I figure out stuff.

{ A M N E S I A }

THE BASICS

Long story short, Conor remembers things about the outside world and basic things, but she doesn’t remember personal details about them or her own personal memories. It is unknown why she doesn’t remember anything and whether it is mental or physical trauma or something else.

Conor hasn’t made much of an effort to try and recover her memories because she finds it better to not remember what she’s lost than to remember everyone and everything she’s left behind. She’s seen what it’s like for other survivors to cope with the loss of their homes, families, friends, and their old lives. 

Conor still gets easily confused about details mainly because over time she’s learned more about the outside world in more modern ways and gets them confused with what she knows and what she’s learned.

At times, remembering things or thinking about what she does know feels like an out of body experience. She remembers things but they feel so far away.

She thinks she must have been married or at least engaged because when she was found, she had a ring tan line on her finger, but has never figured out what happened. Conor does feel sad sometimes like she’s missing someone and may sometimes cry in private, but she’s learned to repress those feelings over time as she’s given up on remembering who they are. 

She obviously knows she’s not from modern times or really any time after the 1940s, but she can’t pinpoint her actual birth year and when she grew up. With so much time on the island and spending so much time with more castaways from modern times, she feels much more modern. 

EXAMPLES

Conor knows what a car is and how it operates and that the cars she knew were different than they are now, but she doesn’t know if she had a car, who taught her how to drive, or how cars look different than they do now.

Conor knows films exist and has seen older films such as A Trip To The Moon (1902), but she doesn’t remember that she knows about them because she saw them when she was ten years old and not because some film major crash landed on the island and told her about it. 

Conor loves and misses music and listened to it a lot. She knows she listened to music on records, but couldn’t tell you specifically what her favorite song was (she does know of specific artists and songs) or if she ever went to parties where they played music.

{ I N T E R V I E W }

What do you remember last before landing here?

The woman looked at the person in front of her, searching for any words that made sense. She couldn’t think of a damn thing. It’d been a few days since she landed on the island and this was the first time she’d seen anyone. She was still surprised that anyone heard her when she spoke to herself. She was sure that she was alone. “I just remember…sand and water. The sun and the sky. I woke up on a piece of driftwood or something. There was some kind of fabric on it and when I thought I was going to drown because I was so exhausted and there wasn’t any kind of land in sight. When I woke up again, I was on sand and that was it.” She bounced her knee up and down as she stared at the person. “I can’t remember anything else. I-I don’t even remember my own name."

Have you ever killed? If so: why? If not: could you?

“I just told you that I don’t even remember my own name,” the woman replied. She knitted her eyebrows in frustration. Did they even hear what she just said? How could they even ask her something like this now. She looked around at the trees blowing over their heads and she let out a heavy sigh. The woman leaned forward and spoke in a low tone. “If I did, would you kick me off the island? Send me back to sea so I can die of heat stroke? Wouldn’t that make you a murderer too?” She raised her eyebrows. She leaned back. “Or did you want to know if I’ve killed someone so I can kill someone else so you don’t have to get your hands dirty?” The person in front of her didn’t seem amused. The woman bit the inside of her cheek. “Let’s just go with no. I haven’t killed someone. And if I did have to kill someone, it’s going to be because of self defense. If you want someone dead, you’ll have to do it yourself or find someone else."

What is your greatest achievement? Biggest regret?

The woman shook her head, laughing without humor. “Greatest achievement? Not dying on the open ocean,” she replied. Considering she didn’t remember anything, surviving a few days on an island by herself seemed like a pretty big achievement. “Biggest regret?” On the other hand, she couldn’t think of what she regretted. She came on the island by herself and couldn’t even say what year it was, which seemed awfully sad. She had a watch, so at least she could tell them what time it was, but there was nothing on it to indicate a year. “I guess I regret not having a calendar on me,” she told them.

[yourkimjaejin]

NCT AG Profile #1 - Moxy

Stage Name: Moxy (막시)

Birth Name: Thea Marie Thompson

Korean Name: Jin Mi Gyeong (진미경)

Birthday: October 31, 1999

Zodiac Sign: Scorpio

Height: 175 cm (5′9″)

Blood Type: AB

Ethnicity: Half African American, Half Korean

Birthplace: Chicago

Position: Leader, Lead Vocalist, Main Rapper, Lead Dancer

Unit: NCT 127, NCT AG, NCT U

Signature Color: Green

Family

Mother - Hei Ran Thompson

Father - Derrick Thompson

Older Brother - Ryan Thompson (Born 1996)

Younger Brother - Elijah Thompson (Born 2002)

~~~~~~~~~~~~~~~~~~~~~~~~~

Pre-Debut

She was born in Chicago Illinois, but she grew up in Ravenswood, Illinois.

She completed her freshman year in Chicago and finished high school in Korea at the School Of Performing Arts Seoul. She was in the practical music department where she majored in Vocal. Moxy also took some extra classes in the bass guitar major. 

She was cast in a SM Global Audition in California while on Vacation with her family in the winter of 2015

At first, her mom was apprehensive of letting her go to Korea by herself but seeing how excited her daughter was, she ultimately agreed.  

She lived with her grandparents during training before moving into the dorms

During her training days, she had some acquaintances but she never befriended anyone until Doyoung and Johnny

She helped Doyoung nail the choreography for Firetruck, ever since, Johnny and Doyoung basically adopted her

She only trained a year before debuting in 127 during the promotions of Limitless

Facts

Before moving to Korea, Moxy was in Cheerleading, Choir, and Drama Club

Her plan for college was to study and become a Korean Translator

Her audition song was Get Away By Jessie J. The song she danced to was Pon De Floor by Major Lazer

She debuted in 127 during the Limitless promotions. She debuted in AG on May 21, 2019

Thea can be a bit shy in the beginning with new people but once she gets to know you and trusts you, she really opens up. 

Once she cares for you, you are put on her list of people she would gladly fight anyone for. 

Thea had her own room in the 127 dorms. She stayed on the same floor as Doyoung, Johnny, Haechan and Taeyong. Her room in the 127 dorms is untouched by the boys ever since she moved dorm to live with the AG members

Thea has an open door policy for her room. If her doors open, come on in. If its closed, it means either someone is already in there talking to her or she needs some alone time. 

Jaehyun revealed that Moxy stays up all hours of the night in order to watch professional wrestling(ie. WWE, AEW, etc.) Many member have caught her when they get up for water or a snack. 

Doyoung says that Moxy has a ton of jerseys from different sports. 

Moxy’s favorite wrestler is Jon Moxley/Dean Ambrose. She modified his last name to fit a girl and is an homage to the wrestler

At the 127 dorms, she didn’t have a lot of chores but in the AG dorms, she does the laundry

She did get a lot of hate in the beginning of her career with 127. Fans didn’t like that she was a girl in a male group. They made fun of her skin tone. They criticized her, saying she danced like a guy. It was rough for her. 

Her nicknames - Mimi Unnie/Noona, Speedy(fan given), Pumpkin Queen (used by NCT), Pumpkin (used by Haechan only), Gyeongie (Used by the dreamies)

As time passed, fans grew used to seeing her and appreciated what she brought to the table. Early on, she had a ton of African American fans cheering her on from across America

She can speak English and Korean and is learning some Chinese

Favorite Kpop Artists: Super Junior, Got7, Seventeen, F(x)

Favorite American Artists: Melanie Martinez, Olivia O’Brien, Eminem

Her hobbies are watching professional wrestling, watching football and basketball, listening to music and watching tv.

She’s had two solo songs (to be revealed!!)

NCT U Lineups: Give It Up, Make A Wish, All About You

[smalltowndetective]

23. “We have to be quiet.” from the dialogue prompts with Felix and Thea getting up to some shenanigans, maybe? Love your writing btw!

So, yeah, this turned out way longer then I expected it to, but I hope you like it!

Spreading all of the files on the desk, Thea slumped in her seat and started to get to work.

               The warehouse’s library was quiet, and Nate had been more then happy to let her work in there. All of her work for the Agency had started to pile up after the maa-alused, and she just needed an afternoon to get caught up with everything.

               The rest of Unit Bravo was working on their own paperwork, or they were supposed to at least, and Thea started working on her own report. Her people-pleasing attitude always had made her treat these reports like they were a term paper back in university, one that was worth 30% of your final class grade, because deep down, she really wanted to stop her mother from having doubt at all about her being a part of the Unit.

               Thea just wished writing a good report would expel all of those doubts, but she was smart enough to know that was unlikely.

               After what had to been hours, what she considered her “first draft” was complete, and she was more then happy to have that out of the way, and feeling slightly better, started editing it, and she was so engrossed in it, she did not notice someone walk in the library, that person coming up behind her and gently placing their hands on her eyes, and she knew that could only be one person.

               “Felix”, she said, her voice coming out as more of a whine then she intended, and there was a cackle of laughter as he removed his hands from her face, and she turned around to face him.

               “Hello Thea”, he beamed, a bright smile on his face, “What are you up to?”

               A rare scoff left her lips, “My report? And speaking of reports, aren’t you supposed to be working on yours?”

               “I just finished it”, Felix said, a look of pride on his face, “And I guess I assumed that if I finished mine, you would have probably done yours already”.

               “Well, the first draft is done”, Thea replied, “But I want to edit it before I give it to Adam”.

               “I’m sure it’s perfect how it is,” he said, “But, you want to take a break? Nate said you’d been in here since the early morning”.

               She sighed, as much as she wanted to go ahead and get it done, if she had to stare at those words again, she’d probably drive herself crazy, “Alright, I can”.

               “Great!”, he said, and she got up from her chair to go stand next to him, and she noticed that he was wearing the rainbow socks that he and Mason had argued about a few weeks ago.

               “Ah, I see the rainbow socks are back”, she smiled.

               “It’s not like they ever left”, he said, and then a mischievous grin lit up his face, and for some reason, it was making Thea nervous, “You know, Mason has his clothes in the dryer right now”, and he gave her a wink.

               “What are you planning on doing?”, she answered, already having an idea where this was going.

               “So, I was thinking, we could switch out his clothes for some of mine, give him the shock for his life”, the grin never leaving his face.

               “He’d be so mad”, Thea said, fumbling over her words as she did so, wanting to be shocked that he would suggest such a thing, but she knew Felix well enough.

               “Oh, come on, Thea”, he begged, “It’ll be fun. Please?”

               He looked at her with pleading eyes, and Thea knew that she had already lost.

               “Alright, okay”, she said, “But when he comes after you, this wasn’t my idea”.

               “I’m sure he can figure out whose idea it was”, Felix chuckled, “And if we wait much longer, we won’t be able to do it”.

               He almost sprinted out of the room, and Thea struggled to keep up with him.

               After stopping at Felix’s room for some of the brightest colored clothes that he owned, they went to the small laundry room, and took out all of Mason’s clothes, and put the brighter colored colors in the dryer in its place, which left what to do with the clothes they had taken out.

               “I’m really not sure what we should do with them”, Felix said, lost in thought, “We could hide them in the training room”, and while he was talking, Thea grabbed one of the laundry baskets and started folding Mason’s clothes.

               “What are you doing?”

               “He’s already going to be mad”, said Thea, “Let’s not make it worse. We can just place the basket outside his bedroom door, but he’ll still see that they’ve been switched.”

               “Alright, that works”, said Felix, kneeling down to help her, “He’s never going to know what hit him”.

               “Yeah, and that’s what scares me”, Thea muttered, as they finished the folding the last of Mason’s clothes.

               Felix gave a light laugh at that, “It’ll be fine, trust me”, and then he grabbed the basket, and they went down the hallway together, Thea’s pulse racing at the thought of what Mason would do when he found out what they did.

               They did not have to wait long since just after they dropped off the basket, an angry yell of “Felix!” almost seemed to shake the warehouse, and Felix went off in a sprint.

               “Wait!”, she called out in protest, and followed him back to the library, where they both ended up sitting on the ground behind one of the bookshelves, their bodies pressed against each other to avoid being seen on the other side.

               “If you wanted to be this close to me Thea, you could have just asked”, Felix whispered to her, trying to hold back laughter.

               “We have to be quiet”, she said, a mad blush rushing to her checks, not surprised at all that he would be joking at a time like this, but as she thought about it, Mason would probably find them anyway because her heart was pounding so hard it was almost all that she could hear.

               She heard the door to the library slam open, and Mason’s heavy footsteps thundered into the library, and Thea got the urge to press closer to Felix, even though she was not quite sure what good that would have done.

               Mason made his way to where they were hiding, and Thea grabbed Felix’s hand and pulled him up off the ground, not wanting to feel any shorter than she already did around him, and Felix also seemed to have the same idea, going up along with her.

               Thea meant Mason’s glare, his grey eyes squinted in what she could interrupt as fury, a cigarette still dangling from his mouth. He dropped the pile of rainbow clothes at Felix’s feet, and Thea got to sudden urge to step back.

               “What did you do to my clothes?”, he growled, and Thea looked at Felix, who she found was already looking to her, and before she could get the courage to say anything to him, another voice broke the silence.

               “Is everything alright in here?”, Nate’s voice rang out through the library, the calmness of it almost enough to calm Thea’s nerves a little. He walked over to where the three of them were standing, looked down at the clothes on the floor, and then back at the three of them, an eyebrow raising as if asking one of them explain.

               Mason let out a long groan, “Felix”, and then he looked at Thea, “And I suppose he dragged Thea into it as well, replaced all of my clothes in the dryer with this”, he said while gesturing to the pile of clothes on the ground.

               Nate knit his eyebrows together, “You mean the clothes that are neatly folded outside your bedroom door?”

               A look of bewilderment went over Mason, an expression that Thea had never seen him wear before, and Felix finally spoke up.

               “Yeah, that was Thea’s idea”, he said, throwing a lazy grin at her, and she looked at him wide eyed, and he continued, “But yeah, everything else was my idea, I kind of dragged her into it”.

               Nate chuckled, his eyes scanning the room, “Why does that not surprise me?”

               “I did go along with though”, Thea said in response, “It’s not really anyone’s fault except my own”.

               “Anyway”, continued Nate, looking back at Mason, who had been silent, “Has everything has been resolved?”

               Mason gave a shrug in response, “I guess”, and did not waste anytime leaving the room, leaving the pile of clothes on the floor as he left.

               “You’re never going to be deterred from messing with him, are you?”, Nate asked, looking more at Felix then to her.

               “I’m pretty sure you know the answer to that, Natey”, Felix said, the grin back on his face.

               Nate shook his head, but he laughed, “Unfortunately, I do, but if everything is resolved here, I’m going to go ahead and get back”.

               Thea smiled, “Yeah, I’m pretty sure everything is”.

               Nate gave a small wave of goodbye in response, and left the room, leaving Felix and Thea alone.

               “That was”, she began, “Kind of intense”.

               “But pretty exciting!”, he said, flashing her another grin.

               She laughed, “I’m pretty sure we have different ideas of exciting”.

               “Oh, come on, Thea!”, Felix said, “Hiding together was pretty fun, was it not?”

               “If Mason wasn’t about to tear us both apart it might have been!”

               “But it turned out okay!”, he continued.

               “Let’s just agree to disagree on this one, alright?”, she said, then grinned, “But it was a much-needed break”.

               “Of course, it was!”, Felix said, “You’ve been working all day!”

               “And I still have to finish that report”, Thea responded, “But I’ll try to get it done as soon as possible, and then maybe we could do something together?”

               Felix’s face softened in a more a genuine smile, and he gave a quick kiss on her temple, “I’ll hold you to that”.

               Thea’s face grew a slight blush, and as she sat back at the desk, reading over what she had already written, and Felix picked his clothes up off the floor before slouching into one of the armchairs.

               “Ya know, I think I’m going to get you a pair of rainbow socks for dragging you into this”, he said, and Thea could not help but laugh.

               “Yeah, I’d like that”.

(Get Thea some rainbow socks 2020)

(If I had any amount of artistic talent, I would totally draw it, lol)

[letterboxd]

Satisfied?

We examine what Letterboxd reviews of Hamilton reveal about the musical’s cultural currency in 2020.

In this absolutely insane year, when our love of movies feels helpless in the face of pandemic-induced economic collapse, some extremely good decisions are being made on behalf of audiences. Studio Ghibli on streaming platforms. Virtual screenings to support art house cinemas. Free streaming of many important films about Black experience. And: Disney+ releasing the filmed version of Hamilton: An American Musical—recorded at the Richard Rodgers Theater in 2016 with most of its original Broadway cast—a year ahead of schedule, on Independence Day weekend.

“Superlative pop art,” writes Wesley of the filmed musical. “Hamilton wears its influences and themes on its sleeve, and it’s all the better for it. Lin-Manuel Miranda and his team employ an unlikely cocktail of not only hip-hop and showtunes, but also jazz (‘What’d I Miss?’), British-Invasion pop-rock (‘You’ll Be Back’), folk music (‘Dear Theodosia’) and Shakespeare (‘Take a Break’) in service of developing an impressively vast array of themes. This is a testament to the power of writing, an immigrant narrative, a cautionary tale about ambition, a tragic family drama, and a reevaluation of who decides the narrative of history.”

2016 may only be a half-decade ago, but it feels like an eon in American political years. With theaters dark and America’s long record of racism under urgent scrutiny, the complex smash-hit lands back in the spotlight at an interesting time. Is Hamilton “the most offensive cultural artefact of the last decade”, as Lee writes? Or “timeless and wholly of the moment”, as Tom suggests? The answer, according to a deep read of your Letterboxd reviews, is “all of the above”.

First things first: why now?

Sophie has a theory:

“Disney executive: Hey we’re losing a lot of money because our parks are closed. How do we start making money again?

Other Disney executive: It might be nice, it might be nice… to get Hamilton on our side.”

Sure, business. Still, it’s historically unprecedented that a Broadway show of this caliber (a record-setting sixteen Tony nominations, eleven wins, plus a Grammy and a Pulitzer) would be filmed and released to the public while it’s still, in a Covid-free universe, capable of filling theaters every night. Will people stay away when Broadway reopens because they’re all Disney+’d out?

No chance, reckons Erika. “I’d still kill to see Hamilton live with any cast… I get why producers are afraid that these videos might hurt ticket sales, but I’m fucking ready to buy a ticket and fly to NY one day just to see as many shows as I can after watching this.”

Not every musical fan has the resources to travel, often waiting years for a touring version to come near their hometown. And even if you do live in a town with Hamilton, the ticket price is beyond many; a daily lottery the only way some of us get to go. So Holly-Beth speaks for many when she writes: “I entered the Hamilton lottery every day for almost two years but I never got to be in the room where it happens… however, this 4K recording of the original cast will do very nicely for now! Finally getting to see the context and performances after obsessing over the music for years was so, so satisfying.”

“Finally” is a common theme. Sydnie writes, “I love this musical with every fiber of my body and it was an extraordinary experience finally getting to watch it in Australia”. Flogic: “To finally be able to put the intended visuals to a soundtrack that I’ve had on repeat for such a long time: goosebumps for 160 minutes.” Newt Potter: “Now I fully understand people’s love for this masterpiece of a musical!”

I’ve got a small query for you.

Where’s the motherfucking swearing? Unsurprisingly, Disney+ comes with some limitations. For Hamilton, it’s the loss of a perfectly placed F-word.

“I know Disney is ‘too pure’ to let a couple of ‘fucks’ slip by,” writes Fernando, “but come on, it’s kind of distracting having the sound go out completely when they sing the very satisfying ‘Southern Motherfucking Democratic Republicans!’ line.”

Will agrees: “Disney cutting ‘motherfucking’ from ‘Washington on Your Side’ felt like sacrilege akin to Mickey Mouse taking an eyebrow pencil to the Mona Lisa.”

Nevertheless, sings Allison:

“Even tho Disney stripped the story of its f***s, Don’t think for a moment that it sucks.”

(Yes, she has a vegan alert for Hamilton.)

Does it throw away its shot?

The crew filmed two regular shows in front of live audiences, with additional audience-less sessions for a dolly, crane and Steadicam to capture specific numbers. The vast majority of you are satisfied. “It’s the most engaging and expertly crafted life filming I’ve seen since Stop Making Sense,” writes ArtPig. “The film does an incredible job of placing you right in the action. It feels like the best seat you could get in the theater. You can see the sweat and spit.”

“Translates perfectly onto the small screen,” agrees Ollie. “There’s a level of intimacy that feels hard to replicate in any other filmed production. We see those close ups, the passion and gusto behind every actor’s performance.”

“Shockingly cinematic for something filmed on such a small stage,” is Technerd’s succinct summary, while Paul praises director Thomas Kail: “He knows when to back away along with moving nearer when appropriate, and the choices always serve to govern the power and stamina of the performances.”

Though cast members’ voices were recorded on individual audio tracks, Noah had a few quibbles with the sound quality. “Some of the audio capture is off in the recording, sometimes voices being too soft or too loud. It’s not immersion breaking, but it is noticeable enough to irk me a little in pivotal moments. Some of the shot composition doesn’t fully work either. Of course nothing is going to be as good as seeing it in person.”

Robert, recalling another recent cinematic escapade of musical theater, lets his poetry do the talking:

“This will do for now until the true movie’s made, Though if Hooper directs, there’ll be an angry tirade.”

I think your pants look hot.

Hamilton fans have their cast favorites, but something about being able to see Jonathan Groff’s spittle and Leslie Odom Jr’s scowls in 4K has you losing it all over again. Several specific shout-outs we enjoyed:

“Daveed Diggs the Legend! Go watch Blindspotting (2018), it’s one of the best movies ever!” —Kyle

“It’s hard to believe anyone will ever top Leslie Odom Jr. as Aaron Burr. I already loved him from the original cast recording, but seeing his full performance in all its glory was just godly.” —Erika

“Thankful that it was made possible for me to view with such clarity the phenomenon that is Renée Elise Goldsberry and spectacular Phillipa Soo.” —Thea

“Daveed Diggs was electrifying and Jonathan Groff was absolutely hilarious. If they interacted together the stage would’ve combusted from the sheer will of their talent.” —Nick

This is not a game.

On one hand, the release of Hamilton is sweet relief for music theater nerds riding out the pandemic. A generation of kids knows every word by heart, rapping (this version of) American history like it’s no thing. On the other, the Obama-era musical already feels behind-the-times, even for many Hamilton lovers, and the filmed version has brought that into sharp focus.

“I listened to the OG cast album about 50 times when it came out, the production is about as good as I’d always hoped,” writes Josh. “Since then however there’s been a very important and broader reckoning with the failures of neoliberalism and the Obama years ([from] which this has to be the most emblematic piece of art) and for me personally a drifting further to the left that has resulted in a very different relationship with the material. So my feelings today are a bit more complicated.”

“Hamilton is extremely non-committal about its politics,” writes Sting. “It doesn’t examine much of what Hamilton dictated besides ‘he wants complete financial control of the country’ (which would sound like a fucking supervillain in any other context, including reality).”

That lack of political commitment, reckons Morgan, is what helped Hamilton as a musical become so popular: “It’s fun. It’s catchy. It interweaves trendy and socially relevant artistic tools to infer a subversive subtext, while simultaneously sanitizing and, at times, flat out fabricating the historical narrative and downplaying the brutality of the true origin story, for the sake of appeasing those in power. Classic Bill Shakespeare stuff.”

History has its eyes on you.

Much criticism lies with the fundamental storytelling decision to make a modern ruckus about America’s Founding Fathers, the men (including Alexander Hamilton) who in the late eighteenth century united the thirteen colonies and co-wrote the Constitution. Undisputed titans of history, they also have blood on their hands, and HoneyRose writes that the musical “glorifies these men, and paints them as self-sacrificing heroes, and honestly normalizes and validates slavery, as well as the behavior of slave owners.”

Stevie, who saw the Broadway production as well as the filmed version, confesses: “I’ve tried (I’ve really tried) to understand what makes people lose their minds over this but I’m still completely baffled by the hype… These were horrible men and a romanticism of them through song and dance just seems entirely misguided.”

Sean is not convinced that Hamilton is a hagiography. “I can’t imagine anyone watching all of this and thinking it paints a portrait of the Founding Fathers as anything other than childish, greedy, venal and self-aggrandizing.” Wesley agrees: “I don’t think Hamilton is trying to be a history lesson, so much as a lesson about how we think about history. It’s a compelling human story told in a revolutionary way.”

That “revolutionary way” is the musical’s central conceit: that of a cast-of-color playing the white founding fathers as they bumble towards independence. Journalist Jamelle Bouie, who regards the musical as “fun, exciting, innovative and, at points, genuinely moving,” wrestles with the “celebratory narrative in which the Framers are men to admire without reservation. Through its casting, it invites audiences of color to take ownership of that narrative, as if they should want to take ownership of a narrative that white-washes the history of the revolution under the guise of inclusion.”

It’s complicated for Matt, too: “It’s widely agreed upon that the show encapsulates the Obama era better than anything, how it coddles white liberals with a post-racial vision of history in a superficial sense, overlooking the insidious and oppressive systems that they benefit from (hearing the audience clap to ‘Immigrants, we get the job done’ unsettled me). Of course hopefully its legacy will be that it opened up more Broadway roles for POC. But I really think that the show doesn’t make Broadway more appealing and accessible to POC, it just makes hip hop more accessible to white people, a launching pad of course to listening to Watsky or something.

“No hate though to anyone that’s completely in love with this, it’s definitely worth seeing despite any hang ups.”

I wanna build something that’s gonna outlive me.

The story doesn’t end, just because the music does. Kai_Kenn has a suggestion: “I have been a part of discussions that dissect the culture that created Hamilton, as well as the culture that Hamilton created, and whether or not Hamilton appropriately addresses the modern issues [that] the cult following proposes it does.

“This is an ongoing discussion that I am trying to be an active listener in and, if you consider yourself to be a conscientious consumer of art, you should too.”

Noah is on board with that: “Reflecting on the past and focusing on the future are not two mutually exclusive actions. Both are a must, regardless of who you are or what you do. A five-star experience in a four-and-a-half-star film. I think that’s just fine.”

Related content

Want to see more of the key cast? Watch Daveed Diggs in ‘Blindspotting’; Renée Elise Goldsberry in ‘Waves’, Jonathan Groff repeat his role as Kristoff in ‘Frozen 2’, Lin-Manuel Miranda in ‘Mary Poppins Returns’, Leslie Odom Jr. in ‘Harriet’, Phillipa Soo in the forthcoming ‘Broken Hearts Gallery’, Christopher Jackson in the forthcoming ‘In The Heights’, Jasmine Cephas Jones in ‘The Photograph’, Okiereriete Onaodowan in ‘A Quiet Place II’ and Anthony Ramos in ‘Monsters and Men’ and ‘A Star is Born’.

Ways to support the Black Lives Matter movement

Official Black Lives Matter’s Resources

Teenagers that have ‘Hamilton’ stuff on their bedroom walls

Films where they mention ‘Hamilton’

[zuzia-suchorska]

Thea Ballard interviews Andrea Zittel

BlouinArtinfo. Newsmaker: Andrea Zittel BY THEA BALLARD, MODERN PAINTERS | JANUARY 06, 2016

Interview excerpt: 

‘Since the early 1990s, Andrea Zittel has merged an insistent sense of functionality with a flair for the imaginary: the chicken-and quail-breeding units, minimalist uniforms intended to be worn for six months straight, compact living units, and floor-bound “furniture” comprising different-size swaths of carpet that characterized her early career conjured an elsewhere through their odd—but always intentional—reorganization of day-to-day norms. Following a relocation from New York to California’s Mojave Desert in 2000, she opened A-Z West in Joshua Tree, a studio compound where visitors can stay in encampments of Zittel’s own creation and otherwise engage with the artist’s designs. Recent works move between abstraction and utility, adopting, too, a dusty desert palette; an exhibition of new works at Sprüth Magers in Berlin is on view until January 18, and another solo opens in September at Andrea Rosen Gallery in New York. Modern Painters senior editor Thea Ballard spoke to Zittel about living outside the art world and negotiating function within a gallery space.

Thea Ballard: What are you working on for your two latest shows? 

Andrea Zittel: I’ve been making works based on the simple format of a plane or a panel. These planar elements actually go all the way back to some of my early pieces from the ’90s, with projects like the A-Z Cover (a blanket that can have any function) and A-Z Personal Panels (garments made entirely out of rectangles). The idea of a plane or a panel bridges so many different classifications and ways of perceiving things—both in terms of function and social roles. It’s also interesting that on some base level, anything that is flat and has straight edges is man-made. So the rectangular form speaks to a certain kind of human production; it allows you to take on the entire built world through a single elemental shape.

TB: Tell me about some of the applications you see for the panel. AZ: An example that’s in front of me right now is a sheet of plywood. A table is also an example of a planar element that has been given a function, or a bench or a sheet of printer paper. One of the things I’ve been interested in is how these panels can also represent different realities. A game board is an example of that—most game boards are flat and rectangular and roughly the same size. But the rules are totally different, depending on the particular game’s “reality field.” 

TB: Do you find that there’s an architectural element to how you’re using it? AZ: It has allowed me to go back to working on a more architectural scale, which has been one of my core interests since the early ’90s. I’m working on plans for a new large-scale sculpture out here in the desert. The work will eventually consist of concrete wall sections scattered over about 25 acres of A-Z West. The part of the desert where I live is a weird place, and everything is in a state of transition right now. Parts of it are completely wild and natural, but there are also a lot of houses and developments moving in. I’m interested in making structures that, when you’re inside them, shift or alter your perception of the surrounding landscape. TB: What materials are you using? AZ: For the outdoor architectural works, I use materials that will hold up, such as steel, concrete, and wood. I’m also working on pieces for interior domestic spaces that are made from textiles. As panels, these handwoven pieces are inherently two-dimensional, but if you fold or drape or use them in any way, they transcend two dimensions to become three-dimensional.

TB: Tell me about living in Joshua Tree. AZ: It’s such an interesting and complicated place. I originally moved here because I wanted to be in a community that was, for the most part, separate from the art world. My mother’s side of the family is from the desert, so I’m also sort of hard-wired for this environment. I’ve heard people talk about the desert using these romanticized terms, like landscape, isolation, or nature. But it’s also a very politicized landscape. Right now there is a massive rush to use our area for large solar and wind farm developments. I can see the largest Marine base in the country from my studio—when they run their artillery target practice it shakes the entire house, sometimes for days on end. And then on the other side of A-Z West is an incredibly beautiful national park.

TB: Have you seen significant changes to the landscape you’re living in? AZ: It has changed a lot in the time that I’ve been living here. I find myself getting very emotional, wanting to fight for a certain way that I believe people should live and respect land, but at the same time, in order not to go completely crazy, you have to learn to accept the inevitability of change. I’m at a point in my life where I’m trying to wrap my head around the idea of change and be OK with it, so it’s feeling like a very existential moment.

TB: How is that sense of change emerging specifically in your art practice? AZ: There’s part of me that believes there’s a right way to do everything, a right way to live. And then, following this impulse, my next realization is that each person’s right way is different. These are ideas that I try to address in my works as well. My early work in the 1990s really confused people, because I would embody a position completely, and I would treat these positions as moral truths. For instance, I believe that you need to have only one garment per season, and you don’t need any dishes other than bowls, and a 30-inch-wide bed is the perfect width—anything more just takes up room and is unnecessary. People would get upset because they couldn’t tell if I was being critical or not. But I was fascinated by ideology and wanted to explore how it felt to be unquestioningly immersed in a position. At this point in my life, though, it’s impossible for me to believe in anything so fully anymore. My work has gotten a lot more philosophical as a result: Instead of making idealized products to live with, I’m making more abstract and open-ended living environments, though these are still things people can use in day-to-day living.

TB: How does an object express this philosophical quality? AZ: Lately I’ve been thinking about the notion of living in abstraction. An example of this would be a piece of furniture to which you can’t assign any single role. Essentially, we live on all these different horizontal surfaces (chairs, tables, beds, counters, desks), and the materials from which they’re made—or things like height or other subtle material clues—generally indicate their function. A philosophical object disorients you, but in a subtle way. I’m not interested in deconstructing function so much as disrupting some of the quick assumptions that we make when we assign roles to things that we think we may already know well.

TB: How do you feel your objects operate in a gallery space? AZ: Oh, man. The gallery has been one of the most challenging spaces for my work. I’m so much more interested in making things that function in daily life or in the larger world. I’m not opposed to the gallery as a site of exchange or commerce, since this is how all products enter the world. And I support my larger endeavor and noncommercial projects by selling works through galleries. But I have struggled with the context of the gallery for years. A lot of my earlier works, such as the Living Units, really felt like caricatures of themselves when I saw them in gallery spaces. This is a big part of the reason that I wanted to make spaces like A-Z West in the California desert, or A-Z East in Brooklyn.

TB: Have you been wrestling with that context recently as you prepare for these two shows? AZ: This morning I oriented a new group of residents who will be staying in our Wagon Station Encampment here at A-Z West for the next several weeks. After we finished talking about the structure of the camp, we spent an hour shoveling and moving dirt (our morning “power hour” is one of the criteria for being allowed to stay here). Half of my practice takes place totally outside the market and gallery system, and involves active, lived experiences. The other part of my practice is becoming increasingly object oriented and contemplative. I wonder if I should have a problem with this split, if I should attempt to make these two parts align. But I feel that the duality is working for me right now—it allows two opposites to create a larger whole in which each side accomplishes something that the other can’t.

TB: The work that can live in a gallery, that’s a form of multifunctionality, too. AZ: Yes, though it’s funny that the works that are clearly functional and meant to be lived with actually feel the most commercial in a gallery, because there, you’re made aware of the fact that you can’t actually use them unless you buy them. But the works that are maybe a little more theoretical or cerebral, they work for everyone—you don’t have to own them to get something from them.

TB: Do you think your project and your living situation are part of your attempt to create a different economy? AZ: I’ve thought about different economies a lot over the years, and running A-Z West takes this thinking to a whole new level, because it’s expensive to maintain and to make available to people. Right now the project is funded entirely by my commercial practice, and I’m so lucky I can do that, but I worry about what will happen if I’m not here someday. It needs to become financially self-sustaining. Figuring this out will allow me to focus on projects that aren’t always linked to a need to generate income. I think that right now, finding other economic models is probably more important than finding other formal models. That will open things up for artists more than anything.’

[chocolateheal]

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[mindful-thea]

Thea’s story

Althea Grace Vale was born in Melbourne, Australia, where she led a fairly normal childhood and adolescence. She preferred being called Thea, although her mother sometimes called her Ally. She had both of her parents and she had a small but close group of friends. She was a skilled artist and a talented musician. She tried her hand at acting in high school but it never took off. On the surface, she seemed entirely normal. It wasn’t until her mid 20’s when the odd feelings and bitter emotions began. At first, it appeared as though she was merely hormonal or experiencing normal human growth and development. Of course she knew about conduits and the like, but she was not convinced there was any connection. She thought she was just going crazy. At least for the first few years, she didn’t tell anyone about the voices.

At the age of 25, Thea was on the verge of a mental break, as the voices in her head became unbearable, and the migraines became a regular occurrence. Finally, her mother approached her, saying that she knew what Thea was feeling. She could sense it, she said. As it turned out, Thea’s parents were conduits, and so was she. The voices were real, coming from the people around her. The migraines were a product of the power she could not control. Her parents had made a decision early on to try to shield Thea from that truth as long as possible, as civil unrest was becoming more and more apparent in respects to the conduits, and they wanted to protect her. This revelation, and finding out she’d been lied to her whole life, enraged Thea, and she left her home for the United States. She settled in Boston and became a tattoo artist. Then, at last, the war overturned her life.

After the war, Thea came out of her hiding and was moved to Chicago. She had taken private classes on how to control her psionic abilities, and she had gotten fairly good at choosing when to infiltrate someone’s thoughts, rather than hearing voices constantly. She trained hard, and often, until one day, something strange and unexpected happened. A simple handshake flooded her mind with images, a first person perspective from the other person’s point of view. She accidentally discovered a crime. A murder. She hid away for weeks before she was able to go back to her lessons with this new challenge. She also reported the murderer, of course.

At first she was indifferent to PRIME, but later came to despise them. She saw them as an unnecessary evil, only in place to weaponize her and her fellow conduits. She joined the Mavericks and trained to be a runner. She wanted to use her psionic talents to infiltrate PRIME and obtain intel against them. For now, she runs her own tattoo shop in the city, which she sees as a sort of speak easy for the Mavericks, somewhere they can come and talk about plans without worrying about prying ears. She still has not had her first field mission, but she’s been patient in wait for her calling...