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Much of our modern theater seems rooted in the Shakespearean discovery of the modern mind. We’re stealing instead from an earlier, less-traveled construct—the Greeks—lifting [The Wire’s] thematic stance wholesale from Aeschylus, Sophocles, Euripides to create doomed and fated protagonists who confront a rigged game and their own mortality. The modern mind—particularly those of us in the West—finds such fatalism ancient and discomfiting, I think. We are a pretty self-actualized, self-worshipping crowd of postmoderns and the idea that for all of our wherewithal and discretionary income and leisure, we’re still fated by indifferent gods, feels to us antiquated and superstitious. We don’t accept our gods on such terms anymore; by and large, with the exception of the fundamentalists among us, we don’t even grant Yahweh himself that kind of unbridled, interventionist authority.

But instead of the old gods, The Wire is a Greek tragedy in which the postmodern institutions are the Olympian forces. It’s the police department, or the drug economy, or the political structures, or the school administration, or the macroeconomic forces that are throwing the lightning bolts and hitting people in the ass for no decent reason. In much of television, and in a good deal of our stage drama, individuals are often portrayed as rising above institutions to achieve catharsis. In this drama, the institutions always prove larger, and those characters with hubris enough to challenge the postmodern construct of American empire are invariably mocked, marginalized, or crushed. Greek tragedy for the new millennium, so to speak. Because so much of television is about providing catharsis and redemption and the triumph of character, a drama in which postmodern institutions trump individuality and morality and justice seems different in some ways, I think.

An interview with David Simon

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but actually genuinely why is the ant sad and leaving with a bindle

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𝖮𝗂𝗅 𝗉𝖺𝗂𝗇𝗍𝗂𝗇𝗀 𝖻𝗒 𝖨𝗏𝖺𝗇𝖺 𝖹̌𝗂𝗏𝗂𝖼́ ( 𝖻. 𝗂𝗇 𝟣𝟫𝟩𝟫 𝗂𝗇 𝖲𝖺𝗋𝖺𝗃𝖾𝗏𝗈)

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OLIVIA COOKE & EMMA D'ARCY Harper's Bazaar UK One on One, June 2024

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Shout out to Characters who are shells of their former selves! You died and you’re not coming back! You don’t recognize yourself and neither does anyone else, and it’s anyone’s guess what the fuck you’re supposed to be now!

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Luciane Buchanan as Queen Ka'ahumanu - Chief of War on Apple TV

Luciane Buchanan interviews with Buzzfeed about The Night Agent, her short film Mother Tongue, her Tongan culture, and her portrayal of Queen Ka'ahumanu in Chief of War

"I was very fortunate to play Queen Kaʻahumanu before she was Kuhina Nui, the queen consort of Hawaiʻi....And I looked her up, and I have never read [about] any historical character ever like her and completely fell in love and was like, 'I don't know if I'm the person to play this role, but fingers crossed, will do my best job.'"

"She's fantastic. I feel like Season 1 is only scratching the surface of who she is. You can look her up, and you can see the legacy she had on Hawaiʻi. It's probably the proudest work that I've ever been a part of...We get to speak ʻŌlelo Hawaiʻi in the show, which is the language of Hawaiʻi.

"My goal is that little keiki, little Hawaiians, see themselves and go, 'Oh my gosh, that was part of our history.'"

LInk to article: https://www.buzzfeed.com/morgansloss1/luciane-buchanan-interview-voices-of-the-pacific

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THE GILDED AGE 3.05 – A Different World

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My only piece of advice to girls and young women is that you have to become financially independent no matter what it takes. Do whatever you need to do to become financially independent in this world and don’t ever let it go for anybody.

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swifties when they see a number

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This artist hand-embroiders canvas "notebooks."

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#local woman angrily eats cookie

or: At this point, everyone is suspect.

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Bertha Russell in The Gilded Age S3, Episode 1-4

a.k.a they hate to see a bad bitch winning

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trans. wong may

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“My confidence is easy to shake. I am very well aware of all of my flaws. I am aware of all the insecurities that I have.”

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let's learn to be ruthless with mama :-)

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george russell thinks bertha russell is the best decision he ever made. george russell thinks the world of bertha russell. george russell thinks the best of him is bertha russell.

george russell let his daughter get sold off to a duke far away. george russell’s fortune is slipping through his fingers. george russell is afraid everything he has built is about to crumble out from under him.

george russell is losing his own trust. and if george russell can’t trust himself, he can’t trust bertha. if george russell decides that he’s a pretty shitty at his game called life after all, then what can bertha be to him? what is the best of him? not so good, it turns out.

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BALL OF FIRE — dir. Howard Hawks, 1941