#viola richmond

[aesthetics-for-harry-potter]

Moodboard of Lucinda Talkalot and Viola Richmond as accountants.

Face-claims: Lana Condor and Tessa Netting.

Requested by: anon.

[rickchung]

Hey Viola! x Gateway Theatre x Richmond, BC. (via Murray Mitchell)

Musical Theatreworks’ latest cabaret-style staging of jazz singer Krystle Dos Santos’ 2020 one-woman show accompanied by a three-piece band, co-created and directed by Tracey Power, tells the life story of Black Nova Scotian and civil rights trailblazer Viola Desmond in a rousing production of Canadian history told through extended monologues and singing.

It’s a righteously powerful piece of musical theatre told with flair and style anchored by Dos Santo’s tremendous stage presence. If nothing else, this is easily the most entertaining way to learn the history behind the women who became immortalized on the Canadian ten dollar bill.

Bring a $10 bill with Desmond on it in exchange for a ticket on Apr. 21.

Running live on stage now until Apr. 22.

[hotvintagepoll]

THE TOURNAMENT IS OVER! Eartha Kitt lounges in her deck chair in the sun, dipping her toes in the pool with Toshiro Mifune and sipping a brightly colored fruity something with an umbrella in it.

Far below in the shadow realm, however, the fallen hotties dance in the dark—let's take a minute to look back at them under the cut.

PRELIM PRETTIES:

Claude Gensac, Silvia Pinal, Ewa Aulin, Rita Tushingham, Annette Funicello, Norma Bengell, Catherine Spaak, Brigitte Auber, Micheline Presle, Nanette Fabray, Libertad Lamarque, Vera Miles, Martha Raye, Catherine McLeod, Virginia Mayo, Elizabeth Allan, Belle Bennet, Virginia Cherill, Mary Brian, Ruth Chatterton, Agnes Ayres, Merna Kennedy, Marie Prevost, Corinne Griffith, May Allison, Virginia Brown Faire, Alice Brady, and Jetta Goudal

ROUND ONE WONDERS:

Angie Dickinson, Thelma Ritter, Geraldine Chaplin, Evelyn Preer, Vanessa Brown, Betty Blythe, Susan Hayward, Mae Clarke, Sally Ann Howes, Ossi Oswalda, Adrienne La Russa, Hermione Gingold, Barbara Bouchet, Melina Mercouri, Anna Karina, Edwige Fenech, Charmian Carr, Pina Pellicer, Marlène Jobert, Tsuru Aoki, Alice Roberts, Leila Hyams, Lady Tsen Mei, Geneviève Bujold, Dolores Hart, Anita Berber, Bonita Granville, Vonetta McGee, Claire Windsor, Zizi Jeanmaire, Tuesday Weld, Grace Darmond, Carol Channing, Deanna Durbin, Laraine Day, Mariette Hartey, Wendy Hiller, Candy Darling, Hermione Baddely, Valeria Creti, Ella Raines, Ann Miller, Dana Wynter, Dalida, Martine Beswick, Gale Storm, Simone Signoret, Cristina Gaioni, Mabel Normand, Stéphane Audran, Ruth Weyher, Anna Wiazemsky, Ann Sheridan, Sandhya Shantaram, Alice White, Anne Francis, Gena Rowlands, Lyda Borelli, May Whitty, Cathleen Nesbitt, Jessica Walter, Virna Lisi, Barbara Shelley, Iris Hall, Heather Angel, Anne Shirley, Joanna Pettet, Virginia O'Brien, Joan Collins, Greer Garson, Gracie Allen, Peggy Ryan, Frances Dee, Shirley Maclaine, Geraldine Farrar, Kathleen Byron, Margaret Hamilton, Eva Gabor, Francesca Bertini, Julie Adams, Olga Baclanova, Misa Uehara, Yvette Vickers, Milena Dravić, Jenny Jugo, Madeleine Carroll, Benita Hume, Olive Borden, Shirley Jones, Miyoshi Umeki, Dorothy Lamour, Gale Sondergaard, Mary Anderson, Charlotte Greenwood, Sybil Seely, Mona Barrie, Kathryn Grayson, Katharine Ross, Madge Bellamy, Rhonda Fleming, Sally Gray, Jana Brejchová, Debra Paget, Madame Sul-Te-Wan, Evelyn Brent, Zelma O'Neal, Marie Laforêt, Türkan Şoray, Beatriz Costa, Irene Zazians, Eleanor Powell, Susan Luckey, Patsy Kelly, Lil Dagover, Norma Talmadge, Dorothy Mackaill, Madge Evans, Virginia McKenna, Amália Rodrigues, Mamie Van Doren, Valerie Hobson, Isabel Jeans, Beata Tyszkiewicz, Claire Luce, Aleksandra Khokhlova, Nieves Navarro Garcia, Janet Leigh, Carmen Miranda, Jean Harlow, Aud Egedge-Nissen, Nina Foch, Jean Simmons, Piper Laurie, Katy Jurado, Jayne Mansfield, Anita Garvin, Frances Farmer, Lizabeth Scott, Joan Greenwood, Una Merkel, Arlene Francis, Ethel Merman, Doris Day, Suzanne Pleshette, Ruta Lee, Carolyn Jones, June Richmond, Eva Nil, Diana Dors, Anna Chang, Colleen Moore, Alexis Smith, Yvette Mimieux, Ruby Keeler, Viola Dana, Dolores Grey, Marie Windsor, Danielle Darieux, Jean Parker, Julie Christie, Acquanetta, Leatrice Joy, Ghita Nørby, Julie Newmar, Joanne Woodward, Sandra Dee, Eva Marie Saint, Simone Simon, Katherine Dunham, Birgitte Price, Lee Grant, Anita Page, Flora Robson, Martha Sleeper, Elsie Ames, Isabel "Coca" Sarli, Glenda Farrell, Kathleen Burke, Linden Travers, Diane Baker, Joan Davis, Joan Leslie, Sylvia Sidney, Marie Dressler, June Lockhart, Emmanuelle Riva, Libertad Leblanc, Susannah Foster, Susan Fleming, Dolores Costello, Ann Smyrner, Luise Rainer, Anna Massey, Evelyn Ankers, Ruth Gordon, Eva Dahlbeck, Ansa Ikonen, Diana Wynyard, Patricia Neal, Etta Lee, Gloria Stuart, Arletty, Dorothy McGuire, Mitzi Gaynor, Gwen Verdon, Maria Schell, Lili Damita, Ethel Moses, Gloria Holden, Kay Thompson, Jeanne Crain, Edna May Oliver, Lili Liliana, Ruth Chatterton, Giulietta Masina, Claire Bloom, Dinah Sheridan, Carroll Baker, Brenda de Banzie, Milú, Hertha Thiele, Hanka Ordonówna, Lillian Roth, Jane Powell, Carol Ohmart, Betty Garrett, Kalina Jędrusik, Edana Romney, Geraldine Fitzgerald, Kay Kendall, Ruth Hussey, Véra Clouzot, Jadwiga Smosarska, Marge Champion, Mary Astor, Ann Harding, María Casares, Maureen O'Sullivan, Mildred Natwick, Michèle Morgan, Romy Schneider, Elisabeth Bergner, Celeste Holm, Betty Hutton, Susan Peters, Mehtab, Leslie Caron, Anna Sten, Janet Munro, Nataša Gollová, Eve Arden, Ida Lupino, Regina Linnanheimo, Sonja Henie, and Terry (what a good girl)

ROUND TWO BEAUTIES:

Evelyn Nesbit, Thelma Todd, Tura Satana, Helen Gibson, Maureen O'Hara, Rocío Dúrcal, Mary Nolan, Lois Maxwell, Maggie Smith, Zulma Faiad, Ursula Andress, Musidora, Delphine Seyrig, Marian Marsh, Leatrice Joy, Sharon Tate, Pina Menichelli, Teresa Wright, Shelley Winters, Lee Remick, Jane Wyman, Martita Hunt, Barbara Bates, Susan Strasberg, Marie Bryant, Diana Rigg, Jane Birkin, Rosalind Russell, Vanessa Redgrave, Brigitte Helm, Gloria Grahame, Rosemary Clooney, Bebe Daniels, Constance Bennett, Lilian Bond, Ann Dvorak, Jeanette Macdonald, Pouri Banayi, Raquel Welch, Vilma Bánky, Dorothy Malone, Olive Thomas, Celia Johnson, Moira Shearer, Priscilla Lane, Dolores del Río, Ann Sothern, Françoise Rosay, June Allyson, Carole Lombard, Jeni Le Gon, Takako Irie, Barbara Steele, Claudette Colbert, Lalita Pawar, Asta Nielsen, Sandra Milo, Maria Montez, Mae West, Alma Rose Aguirre, Bibi Andersson, Joan Blondell, Anne Bancroft, Elsa Lanchester, Nita Naldi, Suchitra Sen, Dorothy Van Engle, Elisabeth Welch, Esther Williams, Loretta Young, Margueritte De La Motte, Ita Rina, Constance Talmadge, Margaret Lockwood, Barbara Bedford, Josette Day, Stefania Sandrelli, Jane Russell, Doris Dowling, Zsa Zsa Gabor, Donna Reed, Ruby Dee, Diana Sands, Billie Burke, Kyōko Kagawa, Françoise Dorléac, Hend Rostom, Monica Vitti, Lilian Harvey, Marjorie Main, Jeanne Moreau, Lola Flores, Ann Blyth, Janet Gaynor, Jennifer Jones, Margaret Sullavan, Sadhana, Ruby Myers, Lotus Long, Honor Blackman, Marsha Hunt, Debbie Reynolds, Michèle Mercier, Irene Dunne, Jean Arthur, Judy Holliday, Tippi Hedren, Susse Wold, Vera-Ellen, Carmelita González, Nargis Dutt, Purnima, Harriet Andersson, Yvonne De Carlo, Miroslava Stern, Sheila Guyse, Helen, Margaret Dumont, Betty Grable, Joan Bennett, Jane Greer, Judith Anderson, Liv Ullman, Vera Zorina, Joan Fontaine, Silvana Mangano, and Lee Ya-Ching

ROUND THREE ELECTRIFIERS:

Jean Hagen, Sumiko Mizukubo, Mary Philbin, Ann-Margret, Margaret Rutherford, Claudia Cardinale, Eleanor Parker, Jessie Matthews, Theresa Harris, Brigitte Bardot, Alla Nazimova, Faye Dunaway, Marion Davies, Anna Magnani, Theda Bara, Myrna Loy, Kay Francis, Fay Wray, Barbra Streisand, Bette Davis, Hideko Takamine, France Nuyen, Claudine Auger, Miriam Hopkins, Maylia Fong, Samia Gamal, Maude Fealy, Machiko Kyō, Sharmila Tagore, Lucille Ball, Ginger Rogers, Juanita Moore, Anna Fougez, Waheeda Rehman, Ruan Lingyu, Nina Mae McKinney, Ethel Waters, Nadira, Olivia de Havilland, Abbey Lincoln, Louise Beavers, Agnes Moorehead, Lana Turner, Norma Shearer, Maria Falconetti, Reiko Sato, Marie Doro, Clara Bow, Margaret Lindsay, Catherine Denueve, Madhabi Mukherjee, Rosaura Revueltas, Hu Die, Mary Pickford, Fredi Washington, Louise Brooks, Leonor Maia, Merle Oberon, Paulette Goddard, Vivien Leigh, Francine Everett, Savitri, Tita Merello, and Meena Kumari

ROUND FOUR STUNNERS:

Judy Garland, Dorothy Dandridge, Yoshiko Yamaguchi, Marilyn Monroe, Irene Papas, Lupe Vélez, Pola Negri, Gene Tierney, Barbara Stanwyck, Gina Lollobrigida, Lena Horne, Nutan, Jean Seberg, Kim Novak, Gladys Cooper, Tallulah Bankhead, Linda Darnell, Julie Andrews, Carmen Sevilla, Gloria Swanson, Glynis Johns, Anne Baxter, Angela Lansbury, Anita Ekberg, Toshia Mori, Deborah Kerr, Hazel Scott, Chelo Alonso, Cyd Charisse, Nancy Kwan, Devika Rani, Shima Iwashita, and Anouk Aimée

ROUND FIVE SMOKESHOWS:

Setsuko Hara, Pearl Bailey, Joan Crawford, Madhubala, Marpessa Dawn, Keiko Awaji, Rita Hayworth, Veronica Lake, Ava Gardner, Greta Garbo, Grace Kelly, Xia Meng, Suraiya, Natalie Wood, María Félix, and Mbissine Thérèse Diop

ROUND SIX SEXY LADIES:

Marilyn Monroe, Sophia Loren, Vyjyanthimala, Jane Fonda, Katharine Hepburn, Josephine Baker, Elizabeth Taylor, and Ingrid Bergman

QUARTER FINALIST GLAMAZONS:

Audrey Hepburn, Marlene Dietrich, Anna May Wong, and Lauren Bacall

SEMIFINALIST ICONS:

Rita Moreno, Diahann Carroll

FINALIST FABULOSITY:

Hedy Lamarr

ULTIMATE CHAMPION OF THE HOT & VINTAGE MOVIE WOMAN TOURNAMENT:

Eartha Kitt

[goldfish-or-smthing]

The Updated Tedependent Masterpost

Disclaimer: Same as last time! I have no problem with people who ship other things, don't ship anything, or ship Tedependent but don't want/expect it to be canon! This is just a theory... (a TED LASSO theory 😎)

Quick notes:

original post here!

Some of this stuff is new, some of it is old, some of it is my observations, and some of it is from other people... I was just getting annoyed at the old post missing stuff and wanted to have all the Tedependent evidence in one place

I’ll be updating this post if new evidence comes along 😊

PART 1 - The Evidence

Car park/similarities with Michelle

In 1x05 when Ted tells Michelle he’s ready to get divorced, he talks about how their relationship began —at school, in a parking lot. Not only did Ted and Trent visit a school on the day they began to get to know each other, but their last scene of season 2 takes place in the Richmond parking lot, which draws even more parallels between their relationship and that of Ted and Michelle. This post also illustrates some connections between the scene between Michelle and Ted and the one between Ted and Trent at the end of 3x02.

Ted’s focus on Trent

From the very first time he calls on Trent in the press room, we see Ted act differently towards Trent than the other reporters. He makes jokes with him, and Trent responds in turn. Ted also makes Trent’s daughter biscuits, which we never see him do for any other reporter and which also implies that not only has he interacted with Trent outside of work but he’s also met his daughter too, something that he doesn’t appear to do with other journalists.

Parallels between Roy/Keely and Ted/Trent

This is a list within a list! The parallels are: - Roy and Keeley have their first big romantic moment in the Richmond parking lot, which is also where Ted and Trent's last scene of season 2 is set (and connects to the Michelle parking lot speech too). - When Roy first invites Keeley on a date, they do a sort of press room roleplay thing. Not only are they just generally mirroring Ted and Trent, but Keeley literally introduces herself as "Keeley Jones, The Independent Woman", announcing herself in the exact same way that Trent usually does, even down to her joking newspaper name, which is literally.... The Independent Woman... It couldn't really be any more on the nose. - The first scene where we see Roy and Keeley begin to fall for each other is at the end of 1x03, after Roy headbutts Colin in the club and threatens everyone to stop bullying Nate, and we get Keeley and Roy nodding at each other in acknowledgement. As this is happening, Trent is reading out his article about Ted, which could be considered the first time we see Trent beginning to fall for Ted. - Roy and Keeley also have Phoebe, who's almost their pseudo-daughter in some scenes, similar to how Trent has a daughter.

Twelfth Night

In 2x07, at around 31 mins in, we get a scene with Trent going up to Ted in the pub to ask for a quote. At the beginning of this scene, right before Trent shows up, Mae says to Ted "If music be the food of love, play on, give me excess of it", which is the opening line to Shakespeare's romantic comedy Twelfth Night. In Twelfth Night, this line is said by Orsino, who is lamenting about a woman named Olivia, whom he loves but who doesn't love him back (I take this to be Ted and Michelle). Orsino then moves on and falls in love with Caesario, a man who is actually a woman called Viola disguised as a man. To cut a long story short, the relationship between Orsino and Viola/Caesario is considered to be a homosexual love story. Bear in mind that lines in this show are rarely said for no reason, and that this line serves no other purpose (and frankly seems a little out of place) than to hint at a romance between Ted and Trent.

Casablanca

At the beginning of the same scene, when Trent sees Ted, he says "Of all the pub joints!". This is a reference to the line "Of all the gin joints in the world, she walks into mine" from Casablanca. As well as this, episode 8 of season 3 is titled “We’ll Never Have Paris”, another reference to Casablanca (although so far some of the suspected titles have been slightly different from the actual title). Casablanca is, of course, an incredibly famous (perhaps the most famous?) romance movie, and it’s interesting to me that not only does it get referenced in a scene between Ted and Trent but it comes up again in season 3.

Also to note: Raja Casablanca is the name of the football club Edwin Akufo invites Sam to join in season 2. Because of this, some people have speculated that the episode title’s reference to Casablanca is actually meant to link back to Sam. I find this unlikely though, as the episode preceding it is titled “Ola’s”, which is the name of Sam’s restaurant, so it would be unlikely to have two Sam-centric episodes in a row.

Trent’s Date

On the same scene of season 2 (we got a LOT from that scene...), we see Trent leaving someone at the door. Many people have speculated that this is his partner or someone he’s dating, which is very likely when you consider Trent’s not-very-platonic tone and way of touching the man. An interesting detail about the man Trent was dating is that he has a moustache, much like someone else we know… 🤨🤨

Higgins

In 2x05 Higgins describes to Rebecca how the first time he met his wife, he embarrassed himself by spilling beer all over himself, and the first time Ted and Trent interact, Ted also embarrasses himself by spitting water everywhere.

Similarities between Trent and Rebecca

There are quite a few similarities between Trent and Rebecca- they’re both very icy to Ted in the beginning, are won over through food (Rebecca through the biscuits, Trent over spicy Indian food), are almost the exact same age according to the pilot script, have strangely similar hair, and the only people Ted makes biscuits for on the show are Rebecca and Trent’s daughter. As well as this, in 1x03 Ted says to Trent “Watch your back, Gay Talese there’s a new iconic profile about to be typed up by one Trent Crimm” then in 1x09 Ted says to Rebecca “Watch your back, Kate Moss there’s a new bad girl on the British modelling scene”.  I believe this is a way of twisting the expectation that Rebecca and Ted are going to end up together to have Ted end up with someone similar, but not who people expect.

Final scene of season 2

Ted’s final scene in the whole of season 2 is him with Trent, which is especially interesting as this scene is sandwiched between scenes about the other major romances on the show (the scenes go Rebecca and Sam, then Ted and Trent, then Roy and Keeley). The significance of Ted’s last scene of the whole of season 2 being with Trent can’t really be overstated. Ted Lasso is a show that loves its parallels, and it would’ve been satisfying to have both season 1 and 2 end with Ted and Rebecca having a debrief about the season in her office, but season 2 instead breaks this expectation by having the scene between Ted and Trent after this.

Trailer/last episode release dates

The trailer for season 3 was released on Valentine’s Day, which was likely a deliberate choice hinting that this season will include more romance. As well as this, the last episode airs the day before pride month, which, although less likely to be deliberate, is also an… interesting coincidence.

The Trent trailer

In the run-up to season 3, Apple TV released a sort of trailer/teaser thing on their website featuring Trent narrating the events of early season 1. This is a very strange video- it was released shortly before season 3 but doesn’t contain any new footage apart from Trent’s voiceover and a couple of shots of Trent’s desk, so it’s not really a trailer. It’s also not a summary- it doesn’t contain any information about season 2, or even the events of season 1. It’s also not spoiler-free though- it includes many shots from late season 2 that give away the plot and even has Trent sign off as “Trent Crimm, independent”. So what on earth was this video made for? And why is it displayed on the website with this photo, of all things, as the icon?

I don’t have the answers to those questions. But what I can say is that this video gives off very rom-com journalist falls for main character vibes. And seems to exist for no other reason than to have Trent wax lyrical about Ted for 3 minutes.

Butch Cassidy and the Sundance Kid

In their last scene of season 2, Trent tells Ted that he doesn't know how to ride a bike, which seems to me to be a very deliberate hint that at some point in the series we’ll get him learning to ride. We know episode 6 is set in Amsterdam, aka the bike capital of the world, and during this episode the song Raindrops Keep Fallin’ on My Head plays, which also plays during a bicycle riding scene in the movie Butch Cassidy and the Sundance Kid. As well as this, Paul Newman and Robert Redford, who play the titular characters of Butch Cassidy and the Sundance Kid, are referenced in 3x03 and 3x04, respectively, so it would make a lot of sense for episode 6 to have a romantic bike riding scene referencing the film, definitely with Trent in and most likely with Ted there too. On top of this, the film has a lot of queer subtext, which makes it all the more interesting that it’s referenced in season 3 and most likely referenced in a scene between Ted and Trent. Thanks to @crimmcast for bringing this connection to my attention!

11:11 wishes

At the beginning of 3x02, Ted states that 11:11 is his wishing time, and then at exactly 11:11 in the episode, Ted says "Trent Crimm is writing a book about us". While I don't think Ted wished for Trent to write a book about the club since he already knew that was happening, I think that between this and Trent being in the scene where Ted first talks about his 11:11 wishing tradition, Ted’s wishes and Trent are somehow connected. Thanks to this post for pointing this out!

"Goodnight Sport"

Ted says this to Trent at the end of 3x02, and it's significant for a few reasons. Firstly, Ted gives other members of the Diamond Dogs nicknames such as "sweetheart", so this cements Trent's place as part of the group. Secondly, in the scene preceding this, they talk about how sport is an excellent metaphor, after Roy uses it as a metaphor for his relationship with Keeley. This means that, having just used sport as a metaphor for relationships and love, Ted then chooses to apply this word to Trent. Thirdly is the connection to The Great Gatsby, in which Gatsby frequently refers to Nick as “old sport”, with the relationship between Gatsby and Nick often considered to be queer coded.

La Cage aux Folles

Shortly after the first episode of season 3 aired, Apple Music released the playlist, which included all the songs in order in season 3. The final song on the playlist was I am what I am, which is the last song of Act 1 of La Cage aux Folles. La Cage is a musical about a gay couple who run a nightclub, and this song is about Albin refusing to hide his sexuality and go back into the closet. It’s the final song of the show, so if this season follows the precedent set by the previous two and closes with the same character it started with, this song will play over a scene with Ted in it. Apple has recently removed all the songs from the Ted Lasso Season 3 playlist from episodes we have yet to see, which indicates that the playlist probably includes spoilers, which this song, if it’s used as expected, definitely counts as. I’ve seen some people express worries that I am what I am will be misused and that the writers/showrunners may not understand the significance of the song to the queer community and end up using it to express Ted’s acceptance of his mental health or something similar. I severely doubt this- I don’t think a show like Ted Lasso, which so carefully puts in lines that hint at things that happen several seasons later (think the way Roy’s anger at Trent was laid out from the start of season 1), would be so blind as to overlook the cultural significance of the final song used in probably the entire show.

The songs get more romantic after Amsterdam

The songs get considerably more romantic after the Amsterdam episode, and although this could technically be for other couples on the show, it’s a CONSIDERABLE increase—over half the songs post-Amsterdam are romantic, which leads me to believe that Ted either gets into a relationship or things ramp up romantically during/after Amsterdam. Technically, this piece of evidence isn't specifically for Tedependent, but more for Ted having some sort of relationship in S3.

The infamous James Lance interview

These are some quotes from an interview James Lance did after season 2 had just finished airing. I try not to read too much into what actors say in interviews as it can easily be misinterpreted, but his insistence that there’s “something there” in the way Trent looks at Ted as well as that there is something about Trent, to do with Ted, that is yet to be revealed in season 3 is certainly intriguing. He also refuses to answer whether Trent is gay or not. I feel like this is most likely because if viewers knew about Trent’s sexuality, the Colin outing storyline would not be as compelling, as knowing for sure that Trent is gay would essentially rule out him outing Colin.

Season 3 is far more queer than the previous seasons

Season 3 is considerably more queer than the seasons before it, and not just because of the Colin storyline. Concepts like changing your name being integrated into episodes (although I hate Zava and have a lot of opinions about the Zoreaux/Van Damme storyline), Zava’s line about gender being a construct, and even Ted correcting Rebecca about West Ham in the first episode (which, although Ted is technically correcting her on using they/them as a plural pronoun and not singular, is still very queer coded) all make this season have a lot more queer undertones. As well as this, Ted has had multiple… suspicious lines this season. His comment in episode one about the “muscular thighs” of rugby players, telling Beard/Roy to “just KISS”- Ted this season so far has been far more overtly queer coded than in previous seasons.

Height as a metaphor for masculinity

This point isn’t entirely about Ted and Trent themselves, but rather an interesting thought I had about the season’s portrayal of height so far. We’ve had both Ted and Trent comment on other men’s heights—"He’s tall" and "You’re tall" respectively—as well as Nate, whose masculinity was constantly undermined throughout his time at Richmond seen struggling to reach the believe poster. Both Beard and Roy laugh at Nate’s struggles, two men who are confident in their own masculinity, but Ted and Trent do not, as men who, in Ted’s words, have had “guys underestimating me my entire life”. Neither Ted nor Trent are particularly short, and their comments about other men’s heights seem a little out of place, but they are both unconventionally masculine, and the men they direct these comments to are the opposite—Zava in particular, as a successful football player, is masculine in the most typical sense. Taking these lines as nods to Ted and Trent’s unconventional masculinity also makes them queer coded, with non-typical presentations of masculinity often synonymous with queer men.

Unconventional families

A big theme in the whole show is family, particularly found family, but this season doubles down on that with the idea of unconventional families coming up a few times in the first few episodes. Ted tells Michelle that "I love our family, no matter what it looks like", and there's also Higgins' joke about the boy and his father, which elicits a few responses about different unconventional families (gay, sperm donor). As well as this, in this interview, Jason talks about Ted finding “another way to go about living this life” and the idea of moving away from the nuclear family structure, which is all very interesting. 🤔🤔

The House in the Cerulean Sea

As I said earlier, I try not to reference things the actors/creators of the show say or do on social media too much because there’s often a big scope for misinterpreting or reading too much into things. That being said, when Jason Sudeikis likes a tweet comparing Ted Lasso to my favourite book ever, I can’t not say something about it! Because wow was that a moment. Embarrassingly, I somehow never noticed the connections between two of my favourite pieces of media until I thought more about it after seeing this tweet, but WOW, are there connections. I’ll try to give as spoiler-free a synopsis as I can… Linus Baker, the main character, is trapped in a morally dubious job that he tells himself is important and something he enjoys, until he gets sent to observe and report on an orphanage run by Arthur Parnassus, who’s very Ted-coded and shows Linus kindness that he’s never encountered before, making him think more about who he is and what he’s doing with his life. If the Trent connections aren’t already blaringly obvious, consider the way Linus starts the story as an observer and over time slowly becomes a part of the narrative. I’ll stop there because I don’t want to get carried away and give spoilers, but the whole book is SO Ted Lasso coded! (Not just in the relationship between Linus and Arthur, but literally the whole book) I really encourage everyone to read it. Also, um… did I mention? It’s basically a slow-burn queer love story between Linus and Arthur.

The Kinks

In 3x02, we get Trent entering the clubhouse to the tune of A Well Respected Man by The Kinks. Later in the show, around episode 11, Strangers plays, which is another Kinks song. This is a romantic song, and considering the Kinks are already connected to Trent through his entrance in episode 2, this song could be used for a moment between Ted and Trent.

Robert Redford

After Trent shows the coaches the security footage of Nate ripping the believe sign, Ted says to him “May a young Robert Redford portray you in a film someday”, and Trent responds, “Probably Dustin Hoffman”. This is in reference to All the President’s Men, a film about journalists uncovering the Watergate scandal, where Robert Redford and Dustin Hoffman play the main two journalists of the film. The strange thing about this line is that Ted decides to compare Trent to Robert Redford, pictured here on the right, despite him clearly looking much more like Dustin Hoffman, especially with the hair. By comparing Trent to Robert Redford, Ted is essentially saying “Hey, I think this incredibly attractive man should play you in a movie!”. And if that isn’t a gay thing to say, I don’t know what is.

PART 2 - Conclusion

I’ve talked almost exclusively so far in this post about connections between specific lines and other character’s arcs/pop culture references and mostly avoided analysing the chemistry and compatibility between Ted and Trent themselves. This is because I wanted to present as solid evidence as I could, and things like romantic glances are far more subjective and up for interpretation. Something that can seem romantic to one person can be seen as completely platonic by someone else. That being said, I do think the two of them have a lot of chemistry, and their arcs fit together so well: Ted as someone who often hides his feelings and puts on a mask of positivity, and Trent as someone who can see through people’s masks and get to what they really mean. They have had a few romantic moments as well: their last scene of season 2, as well as at the end of 3x02, which both contain lingering looks, and the latter is literally overlaid with a romantic song. As well as this, they just get each other; Trent understands and responds accordingly to every single reference Ted throws at him, and he even enjoys his puns (in contrast to Sassy’s denial of Ted in which she cites his “dreadful puns”). The two of them work so well together, and it would be so beautiful to see a queer middle-aged love story, especially if it tells the story of discovering your sexuality later in life.

The idea of Nate’s downfall was hinted at in season 1 with a few lines and subtle moments, not enough for a casual viewer to notice the first time around but just enough to see it clearly laid out on a retrospective rewatch. We have a lot of season 3 left to go, and a lot of reveals are still yet to be… revealed, likely ones that will be just as surprising as Nate’s downfall was but will, like Nate’s arc, have had just as much subtle set up. Set up like referencing Shakespearian romantic comedies, or building up the idea of wishes at 11:11, or references to unconventional families, or drawing parallels between one relationship and another, or slowly introducing more queer concepts into the show, or referencing one of the most famous romantic drama movies of all time, or—you get the gist. No one can say for sure whether Tedependent will become canon, but it’s undoubtable that the setup is there. Whether the show will actually have the balls to go for it... only time will tell.

Thank you for reading :)

Before I go... In no particular order a huge thank you to @thedanceronthestreets, @crenttrimm, @garaksrod, @firefam, @mandiffe, @wrong-energy, @ishouldbedoingalright and @strawberryswords (as well as others I've probably missed!!) tysm for listening to my delusions and sharing all of your own <3

[bees-and-stuff-to-buzz-about]

While I'm in a rental and I know it can't be guaranteed to stay, I'm going to plant Richmond Birdwing Vine (pararistolochia praevenosa), Purple Violet (viola betonicifolia), and Native Violet (viola hederacea).

They're the host plants for the Richmond Birdwing and Australian Fritillary butterflies, and I keep seeing that post about a man in America who helped out significantly I think with the California pipevine swallowtail.

There's so much I can't do to help with the environment, but planting a vine I'll need to trim in my own yard alongside a handful of other native plants and having a bit of a veggie garden helps myself, my family, and some animals in the area.

[101flavoursofweird]

A list of PL Christmas fics I’ve written

Christmas Jumpers For The Soul - Janice and Melina exchange Christmas gifts.

Mall Santa Paul - Don Paolo gets a job as a Mall Santa. It goes surprisingly well, until Layton and Luke show up.

Cinnamon Memories - Hershel remembers Christmases past.

Coming Home for Christmas - Emmy was coming home for Christmas, no matter what.

Connections - Christmas brings disappointment and joy to Kat.

Lilies and Violas - Flora confronts Ernest after the case at Richmond Court. (Set around Christmas but it’s not the focus.)

Countdown - The New Year's countdown begins for the Professor Layton characters.

Market Madness - While exploring the Christmas Market, Luke, Layton and Clark encounter a street performer. (Rhythm Thief crossover.)

[boonesfarmsangria]

In March 2022, Ben Howard was sat in his garden when he found himself unable to think clearly, form sentences or speak for almost an hour. A month later, after the same thing happened again, the Ivor Novello Award-winning singer-songwriter learned he’d suffered two TIAs (transient ischemic attacks - known as mini-strokes). “It was out of the blue,” says the 35 year-old. “It was a confusing time.”

That June, after a month of inconclusive hospital tests Howard and his band returned to Le Manoir de Léon recording studio in south-west France, where they’d previously worked on his acclaimed third album ‘Noonday Dream’.

“We went in and put down ten songs in ten days, then spent the rest of the year tinkering with them”. The record was produced by Bullion, known for his work on Westerman’s ‘Your Hero Is Not Dead’ and Orlando Weeks ‘Hop Up’. Howard says, “We worked through the heatwave, the air conditioning broke, after what had happened I was so tired in the afternoons that I slept a lot. We just played solidly and slept, they was no time for retrospection”.

The result is ‘Is It’, a lush, sonically splintered album which captures Howard working through those moments of seismic shift. “I found it impossible not to dwell on the absurdity of it, that with one tiny clot, one can lose all faculties. It really ate into the writing of the record”.

The songs range from the peaceful quotidian Days of Lantana, to cut up samples and driven beats of Walking Backwards, the formers’ pitched and warped Linda Thompson chorus reminiscent of Malcolm Mclaren´s ‘Madame Butterfly’.

Moonraker, a song about climbing in the Guadarrama mountains touches on the meditational, while in the cyclical Richmond Avenue Howard talks of shared childhood moments with his father.

There are colourful, left-field production choices throughout- a staple of Bullion - but with a twist

“We really bonded over records in the studio” he says. “Nathan has an incredible ear and catalogue of sampled beats and rhythms which quickly became the bedrock…There were contributing factors also. Our mainstay drummer Kyle lives in Seattle and as we made the record on the fly we just leaned into drum-machine world, and really left almost all of that side of things up to Nathan.”

“We also did a session at Real World Studios and put most of the record through an echoplex”.

That session featured additional instrumentation from Raven Bush (violin, viola) and Mick Mcgoldrick (flute, Eileen pipes) as well as Howards mainstay band of Mickey Smith (Bass, guitars, percussion) R.D. Thomas (synths, keys, harmonium) and Nat Wason (guitars).

“It’s actually mostly a guitar record, but there are some nice additions. We bought an old harmonium at the beginning of the trip which made its way onto most tracks. I was very much stuck in stuttered delay and synth led guitar patterns. Mick McGoldrick came in to play on Richmond Ave and straight away played Liam O´Flynn lines from the Mark Knopfler record ‘Cal’ which is a long favourite of mine and a big connection to my Dad who had it on tape. That was a beautiful moment, perhaps one of my favourites moments in the studio ever.”

“It was a refreshing way to record, unweighted by the past”

The change is evident on ‘Is It’ - an album which represents a further creative evolution from an artist known for never repeating himself throughout his already-storied career.

¨I was so aware of the overwhelming information coming from everything, almost like my brain couldn’t filter what was happening and had to start again. So we just pushed forward, lyrically it seems obvious to me in parts, It’s about sitting there wondering what the hell is going on.”

Yet with each listen it feels like more than that. A characteristically onion-layered record which rankles like a series of questions, or a series of vignettes throughout Howard´s life, perhaps best distilled in the whirling chorus on ´Spirit´.

‘What’s mine anyway?

My feelings seem to be arranged.

What´s mine anyway?

Spirit? Is it?´

‘Is It’ stands quite starkly on it’s own, buoyed by the circumstances of its creation. “Just to be playing music in the studio felt like a real privilege and a luxury,” says Howard. “It was probably the best studio session we’ve ever had.

[ausetkmt]

Hon. Joseph R. Biden, Jr. President of the United States 1600 Pennsylvania Avenue, NW Washington, DC 20500

RE: Creating a federal commission by executive order by Juneteenth to study and develop reparations proposals for African Americans

Dear President Biden,

Now more than ever, we know that many of the racial disparities that weigh this country down, and divide people in the US from each other, are unnecessary and can be eradicated if we address the ongoing legacy of enslavement. By righting our wrongs, we can make sure that all families in the US get a fair chance to acquire land, to buy a home, to enjoy good health, and to live without fear about tomorrow. That is why we write to request that you create by Juneteenth an expert commission like that which would be established by a bill in Congress, H.R. 40, the Commission to Study and Develop Reparation Proposals for African-Americans Act.[1]

As 365 civil rights, human rights, and faith-based organizations and dozens of activists, leaders and celebrities that support H.R. 40 pointed out in a letter on February 4,[2] addressing pervasive anti-Black racism and providing reparations, long overdue, cannot wait another day, year, or decade. We are in a once-in-a-lifetime moment that we cannot let slip away if we are to begin the process of repair.

You have seen first-hand the dire need and ardent demand for repair. Last June, you visited Tulsa and spent time with the three remaining survivors of the race massacre that decimated Black Wall Street. Your historic trip fixed a spotlight on the three known race massacre survivors 107-year-old Viola Ford Fletcher, 107-year-old Lessie Benningfield Randle, and 101-year-old Hughes Van Ellis, on massacre descendants, and on the Black Tulsa community that continues to reel from the effects of white supremacy. Calls for federal action on reparations were loud and ubiquitous during your stay, coming from massacre descendants,[3] rights organizations, and members of the Congressional Black Caucus.[4]

This week, nearly a year after your visit, several of this letter's authors met again with the three known massacre survivors in Tulsa and massacre descendants, where in a courtroom they made their case for justice.  As they race against the clock to secure reparations from the City of Tulsa, we implore you to seize on H.R. 40’s historic momentum by creating a federal reparations commission while the window is still open.

We hope that you will take this opportunity to make good on the promise that you and Vice President Kamala Harris made to Black voters outlined in the Lift Every Voice: The Biden Plan for Black America.[5] In this campaign plan, you pledged to tackle systemic racism and the continuing impacts of slavery by“supporting a study of reparations.” White House press secretary Jen Psaki is quoted as saying you support a study of reparations and White House senior advisor Cedric Richmond said that you support H.R. 40 specifically.[6] It is important to seize this chance to show up for those who have for too long weathered discrimination, abuse, and neglect in their tireless efforts to make this country into what it can and must be.  

The US Congress made history when, on April 14, 2021, the House Judiciary Committee voted to move H.R. 40 to the House floor for full consideration, the first time in the bill’s 32-year history. The bill now has a record level of support with 215 members of Congress committed to voting “yes” when the bill comes to the House floor. This is far more than the bill has ever had and it should pass in the House if voted on. In addition, on March 12, 2022, the Democratic National Committee (DNC) passed a resolution of support for reparations and H.R. 40.[7] But considering US Senate dynamics and timing—there are just a few months left before the end of this 117th Congressional session in January 2023—we are calling on you to work with supporting organizations and House sponsors of H.R. 40 to set up the same commission by executive order by Juneteenth this year.

Juneteenth presents you with an important opportunity to commemorate the end of enslavement while also recognizing much more still needs to be done to create equity and real opportunity for African Americans in the US beyond declaring a national holiday. The Black to white racial wealth gap remains vast, with white households having a median of $188,200, 7.8 times that of Black households at $24,100,[8] a vestige of the legacy of enslavement—which can find its roots in redlining, the Homestead Act, and denying Black people access to federally backed home mortgages—and the failure to address the exploitation, segregation, and violence unleashed on Black people that followed. Moreover, the ongoing impacts of enslavement have resulted in deep psychological harms, including by way of forced separation and collective trauma, which require comprehensive remedy. The Covid-19 pandemic has only widened the inequality. It is also important that this commission be established by Juneteenth so that it can start working and issue recommendations before the next presidential elections.

H.R.40 would establish an expert commission to study the legacy of enslavement and how the failure to address harms stemming from it have resulted in huge racial disparities between white and Black people in: the ability to accumulate wealth and to access health care, education, housing and employment opportunities; environmental outcomes; and policing, among other things. The commission would also recommend proposals for how to provide repair for what the study reveals. This bill does not authorize payments or any specific remedy. It simply creates a commission to study the problem, gather relevant information, extensively involve and consult with impacted communities, and recommend solutions. Like the federal commission that investigated the forced relocation and wrongful incarceration of Japanese Americans during World War II, an H.R. 40-style commission can help pave the way for a critical and truthful reckoning and accounting for past harms and the present harms that flow from them.

As states, cities, and other institutions, including the state of California; Wilmington, Delaware; Providence, Rhode Island; Burlington, Vermont; Tullahassee, Oklahoma; Greenbelt, Maryland; Detroit, Michigan; Evanston, Illinois; Georgetown University; the Jesuits; and others pursue reparations at an accelerated pace,[9] it would be sheer irony for the federal government, which sanctioned the kidnapping and trafficking in human beings that slavery entailed, and maintained subsequent anti-Black laws and institutions, to continue to lag behind and circumvent real progress on reparations.

It is in Tulsa where you so powerfully and unequivocally stated: “the only way to build a common ground is to truly repair and to rebuild.”[10] As the 101st anniversary of the massacre approaches, and racial disparities continue to keep communities across the US divided, we could not agree more.

For the above reasons, and those stated in our February 4, 2022, letter referenced above, we hope that we can count on you to take this meaningful first step toward achieving racial justice and realizing reparations for centuries of ongoing harm. We ask that you create a federal commission to study and develop reparations proposals for African Americans similar to that of H.R. 40 by Juneteenth this year. We stand ready to work with you to ensure this happens and kindly request a meeting as soon as possible to discuss the details. Thank you for your consideration.

Sincerely,

National Coalition of Blacks for Reparations in America (N’COBRA) Color of Change  Reparation Education Project Rainbow PUSH Coalition  Faith for Black Lives Black Church PAC  Black Voters Matter Fund   Samuel Dewitt Proctor Conference  Church World Service  NETWORK Lobby for Catholic Social Justice The Union for Reform Judaism Friends Committee on National Legislation Presbyterian Church U.S.A.  National Consumers League Batrice & Associates  Reparations 4 Slavery Make it Plain Live Free USA  Until Freedom Nikkei Progressives  Nikkei for Civil Rights and Redress   Japanese American Citizens League San Jose Nikkei Resisters  National Nikkei Reparations Coalition  Terence Crutcher Foundation  Human Rights Watch  United Church of Christ, Justice and Local Church Ministries 

Cc: Vice President Kamala Harris, Ambassador Susan Rice, and Senior Advisor Cedric Richmond

[odk-2]

Frank Sinatra - One for My Baby (1958)

Frank Sinatra - One for My Baby (and One More for the Road) (1958) Johnny Mercer (Lyrics) | Harold Arlen (Music) from: "Frank Sinatra Sings for Only the Lonely" (LP) (2018 Deluxe Edition)

Traditional Pop

JukeHostUK (left click = "play") (320kbps)

Personnel: Frank Sinatra: Vocals

Orchestra: The Nelson Riddle Orchestra

Piano: Bill Miller

Guitar: Al Hendrickson Al Viola

Harp: Kathryn Julye

Double Bass: Joe Comfort Eddie Gilbert

Drums / Percussion: Frank Flynn Bill Richmond

Horns: Trumpet: Cappy Lewis

Trombone: Milt Bernhart   Russell Brown Ray Sims Tommy Pederson

French Horn: James Decker James McGee George Price

Reeds/Woodwinds: Clarinet: Gus Bivona   Sal Franzella   Chuck Gentry Morris Bercov

Oboe: Arnold Koblentz Champ Webb

Flute: Arthur Gleghorn Harry Klee

Bassoon: Don Christlieb Norman Herzberg

Strings: Violin: Israel Baker Victor Bay   Alex Beller   Arnold Belnick   Daniel Karpilowsky   Emo Neufeld   Ben Gill   Paul Shure   Felix Slatkin   Marshall Sosson   Victor Amo Gerald Vinci

Viola: Alvin Dinkin   Stanley Harris Paul Robyn Dave Sterkin

Cello: James Arkatov   Armand Kaproff Joseph Saxon and Eleanor Slatkin

Conductor: Nelson Riddle Arranger: Nelson Riddle Producer: Voyle Gilmore

Recorded: @ The Capitol Tower Studios in Hollywood, Los Angeles, California USA on June 25, 1958

Album Released: on September 8, 1958

Capitol Records

[anniekoh]

Escape to the City: Fugitive Slaves in the Antebellum Urban South

by Viola Franziska Müller (2022)

Viola Franziska Müller examines runaways who camouflaged themselves among the free Black populations in Baltimore, Charleston, New Orleans, and Richmond. In the urban South, they found shelter, work, and other survival networks that enabled them to live in slaveholding territory, shielded and supported by their host communities in an act of collective resistance to slavery. While all fugitives risked their lives to escape slavery, those who fled to southern cities were perhaps the most vulnerable of all. Not dissimilar to modern-day refugees and illegal migrants, runaway slaves that sought refuge in the urban South were antebellum America's undocumented people, forging lives free from bondage but without the legal status of freedpeople. Spanning from the 1810s to the start of the Civil War, Müller reveals how urbanization, work opportunities, and the interconnectedness of free and enslaved Black people in each city determined how successfully runaways could remain invisible to authorities.

Slavery in the City: Architecture and Landscapes of Urban Slavery in North America

edited by Clifton Ellis and Rebecca Ginsburg (2017)

Countering the widespread misconception that slavery existed only on plantations, and that urban areas were immune from its impacts, Slavery in the City is the first volume to deal exclusively with the impact of North American slavery on urban design and city life during the antebellum period. This groundbreaking collection of essays brings together studies from diverse disciplines, including architectural history, historical archaeology, geography, and American studies. The contributors analyze urban sites and landscapes that are likewise varied, from the back lots of nineteenth-century Charleston townhouses to movements of enslaved workers through the streets of a small Tennessee town. These essays not only highlight the diversity of the slave experience in the antebellum city and town but also clearly articulate the common experience of conflict inherent in relationships based on power, resistance, and adaptation. Slavery in the City makes significant contributions to our understanding of American slavery and offers an essential guide to any study of slavery and the built environment.

[mynoisycollectionstarlight]

This is amazing.....

*****

Samora Pinderhughes: vocals, piano, keyboard

Nio Levon: vocals, vocal arrangements

Elliott Skinner: vocals, guitar

Jehbreal Muhammad Jackson: vocals

Dani Murcia: vocals

Elena Pinderhughes: flute

Clara Kim: violin

Giancarlo Latta: violin

Carly Scena: viola

Saul Richmond-Rakerd: cello

[ezrabridgerwrites]

QUICKFIRE BIOS ;

BRADLEY ;

age: 28 

sexuality: straight...ish 

from: los angeles, california 

ship: persephone blake

best friend(s): micah abiola

siblings: maia prestwick (younger sister)

family: n/a 

roommate: maia prestwick

exes: n/a 

injuries/scars: n/a 

drink: yes 

smoke: no

pets: n/a 

DANTE ;

age: 33 

sexuality: bisexual 

from: oxford, england 

ship: jackson otto 

best friend(s): annabelle baxter, olly walker 

siblings: viola dean (née lee)

family: octavia 'tavvy' dean (niece)

roommate: n/a 

exes: n/a 

injuries/scars: n/a 

drink: yes 

smoke: no

pets: n/a 

ELIAS ;

age: 26

sexuality: bisexual 

from: london, england 

ship: annabelle baxter

best friend(s): matty parker, jackson otto 

siblings: liam hewitt, harry hewitt 

family: william hewitt (father, deceased), brendon richmond (godfather, deceased) 

roommate: n/a

exes: n/a 

injuries/scars: n/a 

drink: yes, but rarely 

smoke: no 

pets: n/a

HENRY ;

age: 26

sexuality: bisexual 

from: monte carlo, monaco 

ship: diego rodriguez

best friend(s): chess howard, poppy martin 

siblings: arthur, valentina, leo, nicolas & sylvie bly 

family: n/a 

roommate: n/a

exes: stefan wilkes (deceased) 

injuries/scars: none, unless you include several cat scratches 

drink: yes 

smoke: sometimes weed 

pets: marmalade (cat)

JOEY ;

age: 28

sexuality: bisexual 

from: salem, massachusetts 

ship: micah abiola

best friend(s): micah abiola, chess howard, poppy martin, louis denver, scotty carter

siblings: none 

family: n/a 

roommate: micah abiola

exes: n/a

injuries/scars: n/a 

drink: yes 

smoke: no 

pets: n/a

MARLEY ;

age: 23

sexuality: lesbian

from: brooklyn, new york 

ship: jessica ortiz

best friend(s): diego rodriguez, persephone blake

siblings: n/a 

family: andrew bostwick (father), harlow charlton 

roommate: n/a

exes: n/a

injuries/scars: n/a 

drink: no

smoke: weed, occasionally 

pets: bucket (blue heeler)

MAX ;

age: 30

sexuality: bisexual

from: san francisco, california 

ship: ivy rogers

best friend(s): louis denver, scotty carter, jessica ortiz

siblings: tommy hayashi

family: cassandra may (aunt) 

roommate: tommy hayashi

exes: n/a

injuries/scars: old shoulder injury 

drink: yes

smoke: no

pets: none, but tommy has two rats: wasabi and fred

RAE ;

age: 24

sexuality: pansexual

from: fairfield, connecticut 

ship: flynn moone

best friend(s): annabelle baxter, poppy martin, katie murdock (npc)

siblings: none

family: rowenna gothel (kidnapper?? i guess??) 

roommate: katie murdock (npc)

exes: n/a

injuries/scars: n/a 

drink: not often

smoke: no

pets: n/a

RAFFERTY ;

age: 40

sexuality: gay

from: brooklyn, new york

ship: harlow charlton & maverick rojas

best friend(s): kian mcgrath

siblings: none

family: helen reyes (wife, unfortunately) 

roommate: fucking helen

exes: ted wiseman (deceased)

injuries/scars: n/a 

drink: yes

smoke: yes

pets: n/a

RIPLEY ;

age: 28

sexuality: bisexual

from: puebla, mexico

ship: charlie clarke

best friend(s): persephone blake, ariadne halliday, kimaya sunder, rose blakely, paris york

siblings: none

family: daniel reyes (father, deceased) 

roommate: n/a

exes: edmundo silva (ex-husband)

injuries/scars: n/a 

drink: yes

smoke: no

pets: jonesy (axolotl), clarice starling (papillon), laurie and nancy (corn snakes)

SIMON ;

age: 32

sexuality: gay

from: toronto, canada

ship: billy mchale

best friend(s): billy mchale

siblings: kit fields (née hudson)

family: lo fields (brother-in-law), jenna fields (niece) 

roommate: kit fields, lo fields, daisy diggory

exes: n/a

injuries/scars: several baseball injuries, birthmark above left eye 

drink: yes

smoke: no

pets: percy (cat), grover (labradoodle)

WARDO ;

age: 30

sexuality: queer

from: manhattan, new york

ship: louis denver

best friend(s): ivy rogers

siblings: eric, marcus & cecily josten

family: ivy rogers, bryce byers, maverick rojas

roommate: bryce byers

exes: louis denver

injuries/scars: various scars, iron-shaped imprint on back right shoulder, raised scar from stab wound on lower left abdomen

drink: yes

smoke: yes

pets: capote (dalmatian), betty (puggle), ulysses (cat, ownership shared)

[aesthetics-for-harry-potter]

accountant au of lucina talkalot fc lana condor and viola richmond fc tessa netting

sure!

[qwainte]

Did you change your mind about posting art of your other bully characters? If so, could you perhaps give some details about them even without the art?

Asdfghjkl no I didn't. I just take forever to finish a drawing because I'm super anal about everything. I also keep experimenting with new art styles so I'm not completely sure how I want my finished drawings to look like. I was lucky to even post Brandi because if I thought about if for a second more I would've changed my mind and never posted her.

But I'm happy to share some info about my other OCs without any accompanying art if you're really interested. They're all girls because boys drool I have an easier time drawing women and Bullworth needs more female students.

So far I've only provided 3 (with an update to Brandi who I posted like a month ago) because these are my most developed and favorite characters. I hope you appreciate them!

Fiona Montague

Basic Info:

Full name: Fiona Sloane Montague Age: 16-17 Grade: Junior Clique: Preppy Extracurriculars: sideline cheerleading, golf club, Spanish club Skills: ice skating, viola, painting Cultural background: East African ancestry, English Appearance: dark brown eyes, medium length curly brown hair, dark skin, 170 cm Family: Maureen (mother), Lucius (father, deceased), Archibald "Archie" (older brother, deceased), Carlisle (step-father, missing), Noah (younger half-brother)

Bio:

Fiona was born and raised in Richmond, London and grew up as the introverted younger sibling in a British aristocrat family. Tragedy struck when her father and brother died in a car accident, and shortly after her grief-stricken mother remarried, uprooting Fiona to the United States. Facing abuse from her step-father, Fiona found solace in her friendship with Tad Spencer at Bullworth, where she initially struggled to fit in with the American preppy crowd. She's known for her aloof and cynical demeanor and is an accomplished ice skater, pouring her passion into the sport, whether practicing alone or with her partner.

Character Info:

She is the only preppy who is legitimately English and finds their faux accents annoying. When she is hanging alone with Tad she makes him drop the accent.

Her stepfather went missing while on a family vacation to the Amazon.

She loves birds and owns 3 ducklings.

She's lesbian. She's not out but many rumors circle around school about her sexuality due to her lack of interest in dating.

Really wants to kill Mr. Spencer

She feels very guilty about not being able to emotionally connect with her half-brother.

She's very mild-mannered

Meta Info:

Her middle name, Sloane, was what I originally named her, which is a reference to the term "Sloane Ranger"; British slang referring to an upper class Londoner

Initially designed as a goth but I reworked her into a prep. Enoby rolling in her grave rn.

Her original surname was "Regis"

Beverly Grier

Basic Info:

Full name: Beverly Grier Age: 17-18 Grade: Senior Clique: Jock Extracurriculars: sideline cheerleading, competitive cheerleading, yearbook committee Skills: physical fitness specifically gymnastics, dance, surfing, mathematics Cultural background: Mostly Scottish and German ancestry, some Hawaiian ancestry Appearance: grey eyes, long wavy platinum blonde hair, pale skin but usually tanned, 177 cm Family: Claire (mother), Robert (father), Stevie (younger sister)

Bio:

Beverly was raised in Santa Monica amidst wealth and privilege, and she harbored a mean spirit that led her to becoming a quintessential "mean girl". After her parents' divorce, she and her sister were divided, with Beverly placed under her mother's care and relocated to Bullworth a year later when she remarried Derby's father, Mr. Harrington. Initially aligned with the Preppies, she later gravitated toward the Jocks, becoming the team captain of the sideline and competitive cheerleading teams. She took a young Mandy Wiles under her wing and eventually promoted her to captain of the sideline cheer squad and crowning her the new "queen bee".

Character Info:

Does gymnastics and wants to compete in the Olympics

Her little sister is a musical prodigy and excels at wind and string instruments. She's the favorite of her parents which causes Beverly to resent and mistreat her

She believes her mother did not want custody of her, but rather her sister instead

Beverly is really likes to surf and competes in competitions every summer when she visits he father and sister in San Andreas California

Her paternal grandmother is Hawaiian. She learned how to surf from the daughter of her grandmother's best friend

After promoting Mandy, she now serves as the co-captain for the sideline cheer squad

Her mother's marriage to Derby's father lasted 3 years, and he immediately got back together with Derby's mother.

Derby and she did not share any real sibling connection before or after the divorce and he is a bit smitten with her (not like it would matter to him considering his family's marriage customs :P).

Despite joining the Jocks, she's currently on good terms with Derby. It did sting his ego and he was initially very salty about it for a while.

Great friends with Bif and they regularly hang out or go on dates

She sees Mandy as the little sister she always wanted, primarily because she does what she wants

She used to bully Lola a lot until she became a greaser and Johnny and the others started protecting her

Mean girl with no heart of gold. She's an ice queen.

All around horrible person but she can rock bangs

Dina Irving

Basic Info

Full name: Geraldine "Dina" Irving Age: 17-18 years old Grade: Senior Clique: Jock Extracurricular: sideline cheerleading, competitive cheerleading, cooking club, dance team Skills: physical fitness, dance, geology Cultural background: Irish American, African American Appearance: brown eyes, medium length dyed blonde hair, light skin with freckles, 175 cm Family: Jennifer (mother), Michael (father, deceased), Benjamin "Benny" (uncle), Matthew "Matt" (older brother)

Bio: Dina Irving had a challenging upbringing as a child. Being a socially awkward tomboy she faced isolation and endured intense bullying from her peers. However, her life took a significant turn in middle school when Beverly Grier, out of pity and a desire to have a yes-girl, reached out to Dina and transformed her into the girly social butterfly she is today. Under Beverly's guidance, Dina flourished, acquiring popularity among the boys at Bullworth Academy. However, this attention came at a cost, as her eagerness to please others led to a reputation that she was "easy." Despite this perception, Dina longs for genuine connections and a meaningful relationship, yet many of the male students fail to treat her with the respect she deserves and dismiss her as merely a conquest. Despite her clique's arrogant attitude and her admiration of her best friend Beverly, Dina has a kind and gentle nature. Her submissive disposition often puts her at the mercy of others, causing her to prioritize their needs above her own.

Character Info:

She's on the spectrum, specifically diagnosed with Asperger's. Her perceived oddness is what led her to being bullied for most of her childhood.

She likes comics and video games which she keeps a secret from most friends. The nerds sometimes allow her to hang out in their safehouse despite her being a jock.

She and Dan are friends and sometime play video games with each other.

Good friends with Bo as well and they often study together and share notes

Dina is still a bit of a tomboy but she is very afraid of being ostracized again so she keeps up her girly persona.

She is bisexual but doesn't exactly know this yet. She's been on "dates" with girls without realizing they were dates.

Loves geology and has a rock collection which Beverly loathes

Obsessed with the static feeling that comes from CRT TVs and fines it comforting.

Meta Info:

Damon and Bif both have a voice line mentioning a female student who has been with the entire football team and I decided to base Dina around that concept.

"Pretty in Pink" by The Psychedelic Furs was also a big inspiration when creating this character

I used to loved pressing my hands and face against our old CRT TV back when we had one so I incorporated that quirk into her character. I love giving my OCs small fragments of my own personality.

And for here are some minor character updates for my #1 girl Brandi (preppy):

She's a skilled singer, but extremely annoying about it

Is a member of the Glee Club and personally kicked Chad out

She is on both cheerleading teams

Uses Donald as lackey

She's been in a few Broadway productions. They had to cut her mic off one time because she was doing the most

[jminter]

Picks of the Week - April 19, 2023

These April showers are getting tedious so let's amuse ourselves some entertaining picks of the week. Tastes: Tonight, Vancouver Foodster and Tasting Plates YVR take patrons on an exploration of flavours around Vancouver on the Asian Eats Tasting Tour. Trailblazer: There's still a few days left to see Gateway Theatre's presentation of the critically-acclaimed musical Hey Viola! starring Krystle Dos Santos as Canadian civil rights icon Viola Desmond before it closes April 22.   Bloom: The Fraser Valley’s annual burst of spring colour returns today, Wednesday, April 19 with the 17th annual edition of the Chilliwack Tulip Festival bursting into bloom for the next few weeks.

17th Annual Chilliwack Tulip Festival opens today Festival: Continuing until May 28th, Urban Ink and The Cultch welcome new works and past favourites to a free, all-digital TRANSFORM Cabaret Festival focuses on empowering Indigenous artists and encouraging collaboration with non-Indigenous artists. Cabaret: At The Arts Club Granville Island Stage, until April 30, Rubaboo is a theatrical indigenous cabaret, guided by powerhouse Métis performer Andrea Menard, an acclaimed singer-songwriter and actor. Featuring the sounds of drums and guitar, this grand musical feast includes songs of reconciliation, unity, love, frustration, and resilience. Improvise: The Improv Centre on Granville Island debuts its spring show, Bring Back The ‘90s!, on Fridays and Saturdays at 7:30pm from April 21 to May 27, with a special opening night on Thursday, April 20 at 7:30pm. Concert: Friday at Christ Church Cathedral, Early Music Vancouver presents La Rêveuse in The Birds Concert, an association of birdsong with the music of the 17th and 18th centuries Dance: The April edition of The Dance Centre’s Discover Dance! series features Lamondance in a double bill of vibrant contemporary works on Thursday April 20th at 12 noon Scotiabank Dance Centre Laughs: Deconstructing a chef’s journey from food to comedy, Canadian Comedian Ali Hassan is bringing his hilarious show titled Does This Taste Funny?  to Anvil Theatre in New Westminster, April 19. 

Exhibition: From this Saturday, April 22 to June 11, Richmond Art Gallery, in partnership with the Richmond Public Library, presents A Small but Comfy House and Maybe a Dog the first major solo exhibition by Amy Ching-Yan Lam, guest curated by Su-Ying Lee, featuring sculptures made in collaboration with HaeAhn Woo Kwon, with objects from the collections of the Gallery and the neighbouring Richmond Public Library. Femme: The Cultch’s sixth annual Femme Festival features seven performances from women in music, theatre, dance, comedy, and circus, on its three stages continuing until May 14, 2023. Gallery: On display until May 14, Polygon Gallery presents As We Rise: Photography from the Black Atlantic Curated by Elliott Ramsey, the exhibition is organized by Aperture and features more than 100 photographs from the Wedge Collection — Canada’s largest privately owned collection committed to championing Black artists. Comedy: Running to May 7, The Firehall Arts Centre and Savage Society present the remount of Taran Kootenhayoo’s White Noise, a comedy about two families who have dinner together for the first time during Truth and Reconciliation week.

White Noise - Braiden Houle & Anais West photo from 2022 production, credit: Moonrider Productions Photography: Keep your eyes open until April 30 for the the Capture Photography Festival, Western Canada’s largest lens-based art festival, pops up at dozens of galleries and other venues throughout Metro Vancouver, also including an extensive Public Art Program, an Events Program including tours, films, artist talks, and community events as well as an educational partnership with Emily Carr University. Hawaii: You only have until April 23rd to take off to the sun as Hawaii From Above takes flight at Fly Over Canada, bringing its lush forests and flowing waterfalls to sandy beaches and dazzling shorelines to the Canada Place attraction Read the full article

[rickchung]

April Fool’s 2023

Metro Vancouver Events Calendar:

Now-Apr. 2: Sense and Sensibility @ Stanley Industrial Stage / Our Ghosts @ Firehall Arts Centre / Pretty Woman: The Musical @ Queen Elizabeth Theatre / Paradise or the Impermanence of Ice Cream @ The Cultch

Now-Apr. 10: West Coast Amusements @ Lansdowne Centre

Now-Apr 15: Black & Rural @ Pacific Theatre

Now-Apr. 30: Hastings Park Farmers Market (Sundays) / Rubaboo @ Granville Island Stage

Now-May 29: Skin: Living Armor, Evolving Identity @ Science World

Apr. 1-23: Vancouver Cherry Blossom Festival

Apr. 1-28: Riley Park Farmers Market / Trout Lake Farmers Market (Saturdays)

Apr. 1-30: Capture Photography Festival

Apr. 2: Richmond Cherry Blossom Festival

Apr. 8: Pink Mountaintops @ The Cobalt

Apr. 10-16: World Ski & Snowboard Festival @ Whistler

Apr. 12-16: Vancouver Fashion Week FW23 @ Chinese Cultural Centre

Apr. 12-23: Stupid F*cking Bird @ The Cultch

Apr. 13-23: Hey Viola! @ Gateway Theatre

Apr. 14-15: Billie Jean King Cup @ Pacific Coliseum

Apr. 15: Crazy8s Gala Screening @ The Centre for Performing Arts

Apr. 15-May 7: White Noise @ Firehall Arts Centre

Apr. 15-16: Coyuntura 2023: A National Latinx Theatre Gathering @ SFU Goldcorp Centre for the Arts

Apr. 16: Depths of Wikipedia Live! @ Rio Theatre / Drag N’ Dim Sum @ Cold Tea Restaurant / Vancouver Sun Run

Apr. 18: Said the Whale with the VSO @ Orpheum Theatre

Apr. 20: After Dark @ Science World

Apr. 20-May 21: The Legend of Georgia McBride @ Stanley Industrial Alliance Stage

Apr. 20-May 27: Bring Back the '90s @ The Improv Centre

Apr. 22: Vancouver Etsy Spring Pop-Up @ Heritage Hall

Apr. 22-30: Vancouver International Wine Festival

Apr. 27: Science of Cocktails @ Science World

Apr. 28-Oct. 9: Richmond Night Market