#tosca project

[mulemasters]

tosca ci integration with jenkins

Tosca CI Integration with Jenkins: A Guide

If you're working in software development, you know that Continuous Integration (CI) is a game-changer. It ensures that your codebase remains stable and that issues are caught early. Integrating Tricentis Tosca with Jenkins can streamline your testing process, making it easier to maintain high-quality software. Here’s a simple guide to help you set up Tosca CI integration with Jenkins.

Step 1: Prerequisites

Before you start, make sure you have:

Jenkins Installed: Ensure Jenkins is installed and running. You can download it from the official Jenkins website.

Tosca Installed: You should have Tricentis Tosca installed and configured on your system.

Tosca CI Client: The Tosca CI Client should be installed on the machine where Jenkins is running.

Step 2: Configure Tosca for CI

Create Test Cases in Tosca: Develop and organize your test cases in Tosca.

Set Up Execution Lists: Create execution lists that group your test cases in a logical order. These lists will be triggered during the CI process.

Step 3: Install Jenkins Plugins

Tosca CI Plugin: You need to install the Tosca CI Plugin in Jenkins. Go to Manage Jenkins > Manage Plugins > Available and search for "Tosca". Install the plugin and restart Jenkins if required.

Required Plugins: Ensure you have other necessary plugins installed, like the "Pipeline" plugin for creating Jenkins pipelines.

Step 4: Configure Jenkins Job

Create a New Job: In Jenkins, create a new job by selecting New Item, then choose Freestyle project or Pipeline depending on your setup.

Configure Source Code Management: If your test cases or project are in a version control system (like Git), configure the repository URL and credentials under the Source Code Management section.

Build Steps: Add build steps to integrate Tosca tests.

For a Freestyle project, add a Build Step and select Execute Windows batch command or Execute shell script.

Use the Tosca CI Client command to trigger the execution list: sh ToscaCIClient.exe --executionList="" --project=""

Step 5: Configure Pipeline (Optional)

If you prefer using Jenkins Pipelines, you can add a Jenkinsfile to your repository with the following content:pipeline { agent any stages { stage('Checkout') { steps { git 'https://github.com/your-repo/your-project.git' } } stage('Execute Tosca Tests') { steps { bat 'ToscaCIClient.exe --executionList="<Your Execution List>" --project="<Path to Your Tosca Project>"' } } } }

Step 6: Trigger the Job

Manual Trigger: You can manually trigger the job by clicking Build Now in Jenkins.

Automated Trigger: Set up triggers like SCM polling or webhook triggers to automate the process.

Step 7: Review Results

Once the build completes, review the test results. The Tosca CI Client will generate reports that you can view in Jenkins. Check the console output for detailed logs and any potential issues.

Conclusion

Integrating Tosca with Jenkins enables you to automate your testing process, ensuring continuous feedback and early detection of issues. This setup not only saves time but also enhances the reliability of your software. By following these steps, you'll have a robust CI pipeline that leverages the strengths of Tosca and Jenkins. Happy testing!

[kuruoze]

🔪 lcb oc based on the opera tosca by giacomo puccini

[aeterna-auroral-avenger]

Book Anon is indeed still out here. Sorry I've been away for so long, I got caught up in a bunch of stuff and got distracted.

What's this new recommendation for me? 👀

-Book Anon

Book Anon! Hi! 👋🏻 it’s good to see you! It’s okay you got distracted; I get distracted all the time. So no worries. I’m just glad you’re okay.

So I’ve got two for you actually. I don’t remember if I told you about one of them, but I’m going to include it just in case anyway.

So number 1 -> Project Hail Mary by Andy Weir

It’s a first person scifi that involves some mystery, loads of humor, some action, and is overall very clean. It’s got a lot of heart. And there’s some science in there but it’s pretty mild and easy to follow. And if you’ve got questions, I can help you! It’s a really fun read, especially the audiobook. I’ve listened to that twice in a short time span.

Number two -> The Progeny by Tosca Lee

This one is clean too. It’s got mystery, romance, action, and history. Really intriguing characters and story premise. Pretty clever honestly. It’s the first of a two book series, so if you enjoy the first one, there’s more to enjoy with the second one.

So there you go! If you’ve decide to read, let me know what you think. And if you ever have any recommendations for me, I’m all ears too!

[nothingunrealistic]

Unlikely San Francisco neighborhood gets its closeup in highly anticipated new indie movie

SFGATE assistant local editor Amanda Bartlett interviewed director Elena Oxman about her new San Francisco-set indie drama, 'Outerlands'

It’s a familiar commute — one I used to take home to my studio apartment nearly every day in San Francisco’s Richmond District.  Once you leave downtown, it gets darker, foggier. You make your way into the lonely thoroughfare barreling through the underbelly of Geary and Masonic, past bodies buried beneath the Target — formerly the site of San Francisco’s oldest cemetery — and the abandoned Lucky Penny diner in the shadow of a Trader Joe’s. Mattress stores, blinking neon signs, churches and dive bars blur together as you zip toward the western edge of the continent and, seemingly, the end of everything.   The meditative view is one of the establishing shots of the highly anticipated new indie drama “Outerlands.” The closing night film at SFFILM festival this Sunday is the quietly devastating yet tender debut feature of director Elena Oxman, who moved to San Francisco in 2011 and went on her first date with her eventual wife in the neighborhood, where she also shot her short film, “Lit.”

“It’s underappreciated,” Oxman told me over the phone, referring to the tunnel she also traveled through often to get to her misty destination. “It’s got this amazing light that snakes through, and you feel this energetic transition as you come out on the other side. There’s something very romantic about how it looks at night — the older parts of the city you don’t always see on film.” Nostalgia for the NES games she grew up playing as a kid on the East Coast and nights out at Hamburger Haven and the Bitter End in part inspired Oxman’s coming-of-age film, which intricately captures the nuances of trying to make it work on the fringes of a changing city. “Outerlands” follows Cass (Asia Kate Dillon of “Billions”), a newcomer to San Francisco who is juggling gigs as a nanny, a waiter at Tosca Cafe and a party drug dealer just to barely make monthly rent at their shoebox of an apartment. When they discover their coworker Kalli (Louisa Krause) lives nearby after they bump into one another at the laundromat, sparks fly, and they spend the night together. The next morning, Kalli is gone, but she calls Cass up to ask for a favor: if they can watch her 12-year-old daughter, Ari, for a couple of days while she takes a job out of town.  With a little reluctance, Cass agrees, and Ari (a knockout performance from Ridley Asha Bateman) seems unfazed by the shakeup in her routine as she moves in with them — it’s clear this isn’t the first time this has happened. Over time, Cass starts to crack through Ari’s stoic exterior, and the duo bond over their shared love of video games. But as days pass and Kalli fails to return, Cass realizes they might have more in common with Ari than they thought, and are forced to reckon with the childhood they’ve been running away from. It’s a captivating, slow burn of a film that gently balances the emotional heaviness of topics like family isolation and addiction with compassion and hope for its characters.

“Thematically, I was interested in this idea that we all have kids inside of us — younger selves we forget about,” Oxman said. “We come to a point where we connect with those kids more, as we find the courage to put down the protective walls we build and face the tender and vulnerable parts of ourselves. I wanted this film to show what happens when that portal to the past opens up.” Last year, locals may have noticed when the film with then-working title “Project Brick Breaker” (likely an allusion to the “Pong”-adjacent game Cass is seen playing throughout the film on their phone) shut down parts of Clement Street. During the approximately three-week shoot, it closed one of the oldest diners in the city, Hamburger Haven, and Free Gold Watch, the pinball arcade in the Haight. Other scenes were shot near Kelly’s Cove on Ocean Beach, the Anza and Sunset branches of the San Francisco Public Library, and Sparkle Laundry Services on Balboa Street. “I don’t know anyone who would say making an indie film is not challenging. You are not sleeping,” Oxman said with a laugh. “But what made our film uniquely challenging was that we had over 30 locations and were running between them every day. The pace of the shoot was really fast. But it speaks to the quality of the actors, who had little time to rehearse and delivered these great performances.”  

When Oxman moved to San Francisco, the city was in a period of upheaval. Twitter was plotting its move downtown. The historic lesbian bar the Lexington Club was about to close. Her wife and friends were facing housing instability, and many of them left altogether. While such changes aren’t the explicit subject of “Outerlands,” Oxman said they informed the emotional tone of the film, inspiring her to create a bit of a documentary-style time capsule showcasing the places she loved before they potentially disappeared. (She mentioned going to scout an arcade in the Japantown mall, only to find that it was already gone.) An early scene where Cass is longingly looking into the window of a queer bar where they once found community and formed their identity, now dark and empty, felt poignant intercut with later shots of glass homes and huge cranes looming over downtown skyscrapers. “I wanted the images of the city to evoke a sense of loss and longing that mirrors what Cass is feeling internally,” Oxman said. “The faded apartment buildings, diners, dive bars, corner stores and churches we shot suggest a certain way of being in the world, or a certain world of being that has become fragile and is therefore charged with a kind of beauty, reminding us of how fragile and subject to change things always are.”

Yet, there’s a quality of resilience in Cass that viewers might also find within themselves. Oxman said that when she started making “Outerlands,” she had no idea where the country would be when the film was released. Now more than ever, she hopes it resonates. “To me, film is a sacred form of perception, of revealing the world around us and letting it speak for itself,” she said. “There’s no particular message, but I hope people connect with this idea of peeling back the layers and having a willingness to open up. If that touches them, I feel like I shared something I wanted to.”

[issela-santina]

I have annoyed Red and Sherwin more than enough with this meme but I read the Tosca programme then looked up next year's project upon reaching the end of the book

[rayatii]

My French translation of @itsa-me-cavaradossi‘s shorter Scarpia fic!

[omoblue]

Here’s my first attempt at a somewhat cohesive story on omo. Imagine this…

We are at the Opera. Giuseppe Verdi’s “Tosca” is being performed by a well rounded cast. It’s a formal event so everyone in attendance has gone all out on their outfits. Us included. I stand tall with a nice three piece suit, and you, in a beautiful white dress. It’s a classical opera so the attire must, in it of itself, be classy.

Prior to us taking our seats, I offer you a glass of water to which you gladly accept. You down it, remarking how thirsty you were. I chuckle softly as we prepare to take our seats. You notice a slight twinge in your bladder. You glance softly at the restroom sign. Perhaps it would be a good idea to use the bathroom before the show begins. As you are about to depart, the orchestra begins tuning, which means the show is about to begin. We take our seats in the middle of a continental seating arrangement. This means there is no aisle, just one large row. So if someone at the middle had to get up for any reason, every single person would also have to get up, causing quite the disturbance.

The show begins and you look a little worried. The opera is around 3 hours long, but there will be breaks, but it will be around an hour until the first one arrives. The music helps distract you, but you don’t understand any of the Italian. Thankfully there are subtitles being projected. I attempt to help fill in the gaps of the story, all the while the water you had before arriving and at the theater starts filling your bladder.

I reach into my bag and pull out an overpriced bottle I purchased at the venue. Of course I offer this to you which you gladly accept once again. You finish it by the end of the first act just as the villain finishes his song, marking your first chance to use the bathroom.

We make our way to the bathroom, and as I suspected, the woman’s line is backed up almost to where our seats are. Seeing this I grab your hand and head to the lobby. We grab a seat and finally you tell me -

“mmm sir? have to use the restroom”

“Ah, I see, well perhaps you should wait until the line dies down a bit”. I say with a slight smirk

Worriedly you reply “y-yeah I can hold it til then”

As the minutes progress, your need to pee rises and rises, reaching an 8/10. You start to hold yourself a bit before you realize your in public. You decide to settle on crossing your legs. The line eventually dies down and you go to get in. That’s when I grab your hand, turn you back towards me and say

“You want to be a good girl for me, right?”

Those two simply words melt you, almost as if a switch flips in your brain. “Mhm”

“Good” I say with a devilish yet playful grin “hold it for me”.

“Y-yes sir”

We head back to our seats, the almost orgasmic conversation from before starts to wear off and the panic begins to set in. There is no way you can hold it now. The second act is again around an hour, and even if you had to make a mad dash, you’d embarrass yourself in front of everyone, making them stand up. And who’s to say you’d even make it in time.

Around 20 more minutes go by and your absolutely bursting. You’re discreetly trying to hold yourself and cross your legs but nothing is working. You begin bouncing slightly, and some of the theater goers start looking around to try and spot the point of disturbance. You whisper in my ear

“I can’t hold it… please let me pee daddy”

“As much as love hearing that, don’t call me that here. We’re in a formal setting. Use sir instead”

“Yes sir, sorry sir. I just really have to go…”

After a moment to ponder I stand up, addressing the gentleman to our left,

“Sorry to bother you sir, but I have to use the restroom”

He grunts slightly before standing up, as do the rest of the people in our aisle. I take your hand and we make our way to the bathroom. I lead you down a few flights of stairs and down a few hallways until I find a stairwell. We head in, careful as to not seen by others.

At this point your doubled over and holding yourself. You in your perfect dress about to have an accident if we don’t find a bathroom soon…

“Please let me pee! I can’t hold it any longer!!”

“Shh”

I bring you in for a passionate kiss, nothing strong, but rather soft and subtle. Something out of love and attraction rather than lust.

Right there is when you loose control. The floodgates open and your panties are drenched. You try and get the dress out of the way with marginal success. It’s still very wet and very noticeable. I stand there, watching. This scene brilliantly master crafted to perfection in my head, playing out exactly how I envisioned. Just like Verdi’s opera. Poetic.

After you finish up, the relief you feel is immense. Nothing can describe the pleasure you feel. I hand you my pocket square to help clean up. Honestly it doesn’t do much.

“T-thank you sir, that was incredible, can you get the car from the valet? I would die if anyone saw me like this…”

“Valet? My dear, we still have half of the opera to finish”

My devilish smile returning once more, as the thought of public humiliation looms over you. But your ok with this. In fact, the idea turns you on slightly. But not before you feel just a little twinge in your bladder. Hopefully you can hold it better this time…

[wafflesrock16]

hi i totally forgot you wrote in bloom i love that story sm. tulips so grouchy and sweet he's lived in my head for months

It's true, I am the turian-cowboy enthusiast, lol. I still love Tulip and Tosca, so happy to hear you did too. I'm more involved in indie-author projects these days, but returning to In Bloom/Kindled verse does sorely tempt me. God I love turians...

[infinitelytheheartexpands]

omg these fics are INCREDIBLE!!!!!!!! (and thank you @smile-at-the-stars for telling me about them)

[whileiamdying]

Review: Marina Abramovic Summons Maria Callas in ‘7 Deaths’

Part mixtape and part séance, this opera project by the famed performance artist attempts to unite two divas across time.

Marina Abramovic’s “7 Deaths of Maria Callas,” in Munich, includes opera excerpts and short films such as this one, inspired by “Otello.” (Leah Hawkins is onstage at left, with Abramovic in bed.)Credit...Wilfried Hösl

By Joshua Barone July 28, 2021

7 Deaths of Maria Callas

MUNICH — In Leos Carax’s new film, “Annette,” the husband and wife played by Adam Driver and Marion Cotillard are described in inverse terms. As a comedian, he kills every night; as an opera star, she dies.

That’s of course a reductive view of opera. But the alignment of the art form and demise persists in the popular imagination, and guides “7 Deaths of Maria Callas.” A dramaturgically misguided séance of a project by the performance artist Marina Abramovic, it played to its largest in-person audience yet on Tuesday at the Bavarian State Opera here, after a heavily restricted run and livestream last year. It is bound for Paris and Athens in September, then Berlin and Naples — and who knows where else, with Abramovic’s celebrity behind it.

“7 Deaths” is a meeting of divas in which Callas is invoked through a series of the arias for which she was notable. She is then inhabited onstage and in short films — the summoning of a spirit who, Abramovic argues, is still very much with us.

In the work, Abramovic inhabits Maria Callas, miming to a recording of “Casta Diva.”Credit...Wilfried Hösl

She’s right. Callas died in 1977, yet lives on in a still-robust stream of albums, art books and, yes, hologram concerts. She was known even to a public beyond opera as tabloid fodder, especially because of her affair with Aristotle Onassis — a love triangle involving Jacqueline Kennedy, his eventual wife. But her pop celebrity emerged from her being an indelible artist, who contributed to the 20th-century resurrection of bel canto repertoire with a transfixing stage presence. Even when silent, she emoted with the entirety of her face, arrestingly expressive with just a small hand gesture. Her voice failed her too early, but she embodied the “Tosca” aria “Vissi d’arte”: “I lived for art.”

That voice caught the attention of a young Abramovic, who has said that she first heard Callas on the radio when she was a 14-year-old in Yugoslavia. Since then she has been haunted by their similarities: They share astrology signs, toxic relationships with their mothers and, she told The New York Times last year, “this incredible intensity in the emotions, that she can be fragile, and strong at the same time.”

In the opera’s initial run, Adela Zaharia, left, sang an aria from “Lucia di Lammermoor.” On Tuesday, it was sung by Rosa Feola, in a standout performance.Credit...Wilfried Hösl

In that interview, Abramovic noted one essential difference: how they reacted to losing the loves of their lives. Callas, in her view, died of a broken heart — a heart attack, to be exact — but Abramovic, so shattered that she stopped eating or drinking, eventually survived by returning to work.

All this background about “7 Deaths” is clearer than the work itself, in which Callas is never present enough to persuasively intertwine with Abramovic, who upstages the great diva throughout. That’s the insurmountable flaw of the project, and the main reason it doesn’t belong in an opera house.

“7 Deaths” is best experienced in person; the spatial audio design and immersive, big-screen film element made its 95-minute running time a breeze on Tuesday, compared with the tedious livestream last year. But its use of live performers relegates them to mere soundtrack, while also erasing Callas from her own history.

This might have been more satisfying as a set of video installations, something like Julian Rosefeldt’s “Manifesto.” If Abramovic’s homage were accompanied by Callas’s storied recordings, the goal of joining and blurring divas could be more naturally achieved. Instead, “7 Deaths,” directed by Abramovic with Lynsey Peisinger, never quite approaches actual drama in its succession of arias and films, then its dreamy re-creation of Callas’s final moments in her Paris apartment.

Nadezhda Karyazina, left, sang the role of Carmen last year against a backdrop of a video with Willem Dafoe, left onscreen, and Abramovic. On Tuesday, Samantha Hankey sang it.Credit...Wilfried Hösl

The piece does include new music, by Marko Nikodijevic — ably conducted, along with the opera excerpts, by Yoel Gamzou. The overture begins with haunting bells and slippery melodies whose glissandos render them distant memories of unplaceable tunes. Behind a scrim, Abramovic lies still in a bed under soft lighting; not since Tilda Swinton has an artist so easily gotten away with sleep as performance.

Then swirling clouds are projected onto the scrim — a tacky recurring “visual intermezzo,” as it is called in the credits — and a maid enters. She is the first of seven singers who dress identically and whose arias follow introductions in the form of poetic texts prerecorded by Abramovic.

The characters are never named, but opera fans will recognize them instantly: Violetta Valéry from “La Traviata” (Emily Pogorelc); Desdemona from “Otello” (Leah Hawkins); Cio-Cio-San from “Madama Butterfly” (Kiandra Howarth); and the title protagonists of “Tosca” (Selene Zanetti), “Carmen” (Samantha Hankey), “Lucia di Lammermoor” (Rosa Feola) and “Norma” (Lauren Fagan).

Their onstage appearances are an insult to the singers, who feel like interchangeably anonymous musical accompaniment to the short films — though Feola’s Lucia was defiantly present, a performance that captured the role’s emotional force and vocal acrobatics, even stripped of its dramatic context.

In the work’s coda, Abramovic imagines herself in Callas’s Paris apartment on the day she died.Credit...Wilfried Hösl

A spotlight remains throughout on the sleeping Abramovic, as behind her the short films — starring her and a game Willem Dafoe, and directed by Nabil Elderkin — provide not reflections on Callas but (on a superficial level) the arias themselves, and (on a more thoughtful one) the nature of operatic artifice.

In their embrace of excess, these videos flirt with winking camp. As Abramovic falls from a skyscraper in slow motion, inspired by “Tosca,” her enormous earrings dance in zero gravity; when Dafoe wraps thick snakes around her neck to strangle her like Desdemona, their slithering bodies smear her lipstick. Her Carmen is a bedazzled matador, while in the “Norma” film she and Dafoe trade gender roles, with him in a glittering gown and the penciled eyebrows of Marlene Dietrich.

Little, if anything, is said here about Callas, but after the seventh aria, Nikodijevic’s music returns — now rumbling and tumultuous, with singers and instrumentalists perched in the theater’s boxes — as the scene changes to her apartment on the day of her death. It’s realistic yet suggests a place beyond, the window opening not to a streetscape but to a pale blue emptiness.

In this long coda, Abramovic’s prerecorded voice both gives her directions for onstage movement and imagines Callas’s final thoughts in a collage of non sequiturs resembling a mad scene. She contemplates her luxurious bedding, “Ari” Onassis, her gay friends (Luchino Visconti, Pier Paolo Pasolini, Franco Zeffirelli, Leonard Bernstein). Then, at some point, she leaves through a door. The maids come in, dispassionately clean the room and drape black fabric over the furniture.

One of them lingers, opening a turntable and dropping the needle on a record of “Casta Diva.” The sound is scratchy, but a distinct voice comes through: Callas, for the first time. Abramovic returns to the stage, in a sparkling gold gown, and mimes the performance — an outstretched hand, a downcast look. The two divas unite at last, too late.

7 Deaths of Maria Callas

Performed Tuesday at the Bavarian State Opera, Munich.

Joshua Barone is the assistant performing arts editor on the Culture Desk and a contributing classical music critic. More about Joshua Barone

A version of this article appears in print on July 29, 2021, Section C, Page 8 of the New York edition with the headline: Summoning the Spirit of a Diva. Order Reprints | Today’s Paper | Subscribe

[aitoolswhitehattoolbox]

ETIC, Software Testing (TOSCA) - Senior Associate

Line of Service AdvisoryIndustry/Sector TechnologySpecialism Advisory – OtherManagement Level Senior AssociateJob Description & Summary Role Mission:o Provide a product quality overview for the projects his/her perimeter o Creation of Test Plans and Test cases for software projects within his/her perimeter. o Detecting any potential product risk and work with project team till closure of product…

[fiercehedgehogfate]

Tosca Training

Tosca is a popular test automation tool used for functional and regression testing of software applications. Tosca training offers a detailed curriculum that covers all aspects of Tosca, from its basic features to advanced functionalities. The training will help you learn about test case creation, test execution, and test reporting in Tosca, ensuring high-quality software development.

Participants will also learn how to integrate Tosca Training with various CI/CD pipelines, automate test cases for both web and mobile applications, and perform risk-based testing. By mastering Tosca, you will be able to optimize testing processes and increase test coverage efficiently.

Whether you're a QA professional or a software engineer, Tosca training will equip you with the skills needed to implement test automation in your projects and improve testing efficiency.

Enroll today for hands-on Tosca training and elevate your software testing skills!

[nothingunrealistic]

Elena Oxman’s deeply affecting new movie, “Outerlands,” arrives at just the right moment, when conventional multiplex fare doesn’t seem to capture the way we are feeling in our complex world. The film, which closed the San Francisco International Film Festival last month, screens again Friday at the Smith Rafael Film Center and on June 22 and 27 at Oakland’s New Parkway Theater and The City’s Vogue Theatre, respectively, during the Frameline Festival. It addresses not only the feeling of being edged out of our own souls emotionally, but also being edged out in our own city. “I think it’s a film that has quite a bit of pain in it,” said Oxman, who recently spoke with The Examiner via a video call. “Personally, I’m very interested in pain, very interested in exploring it,” she continues. “But there was a question of what’s too much.”

“Outerlands” follows Cass (Asia Kate Dillon, known for “Orange Is the New Black” and “Billions”), a gig worker who uses they/them pronouns and lives in San Francisco’s gray Richmond district. Cass juggles jobs as a nanny, a restaurant server (at North Beach’s Tosca Cafe) and a drug dealer, insisting that they be paid in cash, to be able to afford their humble apartment. One evening, in a local laundromat, they spy a cute co-worker, Kalli (Louisa Krause), flirt a little, and wind up spending a night together. Later, Kalli asks Cass if they can watch her 11-year-old daughter Ari (Ridley Asha Bateman) while she goes out of town. Days pass with no sign of Kalli’s return, forcing Cass to reconsider their own childhood traumas, and to find ways to connect and communicate with Ari. Comedian and singer Lea DeLaria, a one-time staple of the 1980s and ’90s San Francisco queer scene, plays Denise, a bank worker who notices Cass’ pain and responds with empathy. “I knew it needed that kind of relief — the friendly, open-hearted person who’s just there for them,” Oxman said of DeLaria’s role. “It’s the family that you make, rather than the family you’re born with. You just find the right people along the way.” Getting to this feature-directing debut was a long and not necessarily direct road. Oxman said she had been making “little films” since she was 11. She made short documentaries for a while before earning a graduate degree and going into teaching both film studies and film production at the College of San Mateo and Stanford University, among other schools. Oxman shot the 2014 short film “Lit,” which led to a residency at SFFilm FilmHouse, where she began developing “Outerlands.” “You’re able to develop specific projects, but it’s also a great networking opportunity where you connect with producers,” Oxman said. “I ended up finding my producer, Marc Smolowitz, in that network. That was a key moment. We sent the script to Asia Kate Dillon, who I’d been watching on ’Billions.’”

At first Oxman wasn’t sure about Dillon, since the actor in real life was so very different from the character of Cass. “I knew that this film needed a kind of actor who could be able to communicate a lot with a little, and have kind of a searing quality,” she said. “Asia’s just got these eyes and just this way about them. Attaching them was a big step.”

With only 23 shooting days and little room for error, Oxman and Dillon prepared intensively. They met in person for a five-day prep session — as well as many video meetings — to flesh out the character. “We really got on a very granular level, just practicing how Cass walks, finding their center of gravity — You know, what’s their voice like?” Oxman said. “And it just kind of all clicked. Asia is just so intuitive and empathic.” “They’re in every single scene,” she said. “They just really carry it. Both Chris [Brown, the film’s editor] and I were stunned when we were in the edit. They just radiate something.” San Francisco’s Richmond district, where Oxman used to live, is another star of the movie. Denizens of that foggy outlying neighborhood will recognize many local bars, restaurants, corners and other landmarks. “There’s a certain quality to it, places that are hanging on and represent an older way of doing things,” she said of her former home. “It’s like the antithesis of the tech stuff. There’s a real analog, gritty quality. It tracks the way that The City has changed — and as we know, San Franciscans are sensitive to those changes.” Oxman paid special attention to the color and tone of the movie. “We suppressed a lot of the reds; Cass has more greens and yellows and beiges. There was definitely the sense that they shopped at thrift stores,” she said. “And then Ari brings this new shock of color, this red, which is also kind of a heart center color.” The use of San Francisco locations and many mood-setting “pillow shots,” such as one of the Geary-Masonic Tunnel, conveys a kind of sadness and loss that perfectly complements the mood of the film. “I love the Geary-Masonic Tunnel,” she said. “I find it a very underrated piece of architecture. Even if you don’t know what it is, the way the light snakes down the center gives you a certain feeling, a glimpse into a stage of The City’s history. It’s not the shiny new stuff. It’s this in-between that’s kind of fading.”

[issela-santina]

Tosca (Lyric Opera of the Philippines, Manila, 2025) — dress rehearsal photo. Featured are soprano Ana Feleo in the title role holding a knife as baritone Isaac Droscha, as Scarpia, lies dying in a spot of blue light while the rest of the stage set is awash in projected shades of red from pinkish to orange, from which stand out the large red sofa in the middle of the set, and Tosca's similarly red gown in front of it. Scarpia tightly grips the folded piece of paper containing permission for Tosca and her plus one to safely leave Rome.

[rayatii]

Annnnnd my translation of @itsa-me-cavaradossi's Tosca fix-it AU has finally been posted!

Who would like to learn French through fanfic?

[talentlush]

TOSCA Architect

We’re hiring an experienced TOSCA Architect to lead test automation strategy and implementation for a large-scale European digital transformation project. This is a full-time, remote role ideal for a QA automation expert with deep experienc…