#Christoph Pohl

[legallybrunettedotcom]

BUFFY READING LIST

As promised @possession1981 and I have compiled a list of Buffy the Vampire Slayer (and Angel) related academic text and books. I think this is a good starting point for both a long time fan and for someone just getting into the show, or just someone interested in vampire lore. I have included several books about the vampire lore and myth in general as well. Most of these are available online.

BOOKS

Fighting the Forces: What's at Stake in Buffy the Vampire Slayer; edited by Rhonda V. Wilcox & David Lavery

Buffy the Vampire Slayer and Philosophy - Fear and Trembling in Sunnydale by James B. South

Buffy Goes Dark: Essays on the Final Two Seasons of Buffy the Vampire Slayer on Television, edited by Lynne Y. Edwards, Elizabeth L. Rambo & James B. South

Buffy the Vampire Slayer: Myth, Metaphor and Morality by Mark Field

Televised Morality: The Case of Buffy the Vampire Slayer by Gregory Stevenson

Undead TV: Essays on Buffy the Vampire Slayer by Elana Levine

The Aesthetics of Culture in Buffy the Vampire Slayer by Matthew Pateman

Girls Who Bite Back: Witches, Mutants, Slayers and Freaks by Emily Pohl-Weary

Why Buffy Matters: The Art of Buffy the Vampire Slayer by Ronda Wilcox

Into Every Generation a Slayer Is Born: How Buffy Staked Our Hearts by Evan Ross Katz

The Lure of the Vampire: Gender, Fiction, and Fandom from Bram Stoker to Buffy the Vampire Slayer by Milly Williamson

Blood Relations: Chosen Families in Buffy the Vampire Slayer and Angel by Jes Battis

Sex and the Slayer: A Gender Studies Primer for the Buffy Fan by Lorna Jowett

Diseases of the Head: Essays on the Horrors of Speculative Philosophy; edited by Matt Rosen (chapter 2 Death of Horror)

Public Privates: Feminist Geographies of Mediated Spaces by Marcia R. England (chapter 1 Welcome to the Hellmouth: Paradoxical Spaces in Buffy the Vampire Slayer)

Open Graves, Open Minds: Representations of Vampires and the Undead From the Enlightenment to the Present Day; edited by Sam George and Bill Hughes (chapter 8 ‘I feel strong. I feel different’: transformations, vampires and language in Buffy the Vampire Slayer)

The Contemporary Television Series; edited by Michael Hammond and Lucy Mazdon (chapter 9 Television, Horror and Everyday Life in Buffy the Vampire Slayer)

Joss Whedon and Race: Critical Essays; edited by Mary Ellen Iatropoulos and Lowery A. Woodall III

Buffy and the Heroine's Journey: Vampire Slayer as Feminine Chosen One by Valerie Estelle Frankel

The Existential Joss Whedon: Evil and Human Freedom in Buffy the Vampire Slayer, Angel, Firefly and Serenity by J. Michael Richardson and J. Douglas Rabb

Buffy the Vampire Slayer 20 Years of Slaying: The Watcher's Guide Authorized by Christopher Golden

Reading the Vampire Slayer: The Complete, Unofficial Guide to 'Buffy' and 'Angel' by Roz Kaveney

Hollywood Vampire: The Unnoficial Guide to Angel by Keith Topping

Buffy the Vampire Slayer: The Monster Book by Christopher Golden

Slayer Slang: A Buffy the Vampire Slayer Lexicon by Michael Adams

What Would Buffy Do? The Vampire Slayer as Spiritual Guide by Jana Riess

ARTICLES, PAPERS ETC.

Bibliographic Good vs. Evil in Buffy the Vampire Slayer by GraceAnne A. DeCandido

Undead Letters: Searches and Researches in Buffy the Vampire Slayer by William Wandless

Weaponised information: The role of information and metaphor in Buffy the Vampire Slayer by Jacob Ericson

Buffy, Dark Romance and Female Horror Fans by Lorna Jowett

My Vampire Boyfriend: Postfeminism, "Perfect" Masculinity, and the Contemporary Appeal of Paranormal Romance by Ananya Mukherjea

Buffy, The Vampire Slayer as Spectacular Allegory: A Diagnostic Critique by Douglas Kellner

"Buffy the Vampire Slayer": Technology, Mysticism, and the Constructed Body by Sara Raffel

When Horror Becomes Human: Living Conditions in "Buffy the Vampire Slayer" by Jeroen Gerrits

Post-Vampire: The Politics of Drinking Humans and Animals in "Buffy the Vampire Slayer, Twilight", and "True Blood" by Laura Wright

Cops, Teachers, and Vampire Slayers: Buffy as Street-Level Bureaucrat by Andrea E. Mayo

"Not Like Other Men"?: The Vampire Body in Joss Whedon's "Angel" by Lorna Jowett

Buffy the Vampire Slayer and the Domestic Church: Revisioning Family and the Common Good by Reid B. Locklin

“Buffy vs. Dracula”’s Use of Count Famous (Not drawing “crazy conclusions about the unholy prince”) by Tara Elliott

A Little Less Ritual and a Little More Fun: The Modern Vampire in Buffy the Vampire Slayer by Stacey Abbott

Undressing the Vampire: An Investigation of the Fashion of Sunnydale’s Vampires by Robbie Dale

"And Yet": The Limits of Buffy Feminism by Renee St. Louis & Miriam Riggs

Meet the Cullens: Family, Romance and Female Agency in Buffy the Vampire Slayer and Twilight by Kirsten Stevens

Bliss and Time: Death, Drugs, and Posthumanism in Buffy the Vampire Slayer by Rob Cover

That Girl: Bella, Buffy, and the Feminist Ethics of Choice in Twilight and Buffy the Vampire Slayer by Catherine Coker

A Slayer Comes to Town: An Essay on Buffy the Vampire Slayer by Scott Westerfeld 

Undead Objects of a “Queer Gaze” : A Visual Approach to Buffy’s Vampires Using Lacan’s Extended RSI Model by Marcus Recht

When You Kiss Me, I Want to Die: Gothic Relationships and Identity on Buffy the Vampire Slayer by Ananya Mukherjeea

Necrophilia and SM: The Deviant Side of Buffy the Vampire Slayer by Terry L. Spaise

Queering the Bitch: Spike, Transgression and Erotic Empowerment by Dee Amy-Chinn

“I Want To Be A Macho Man”: Examining Rape Culture, Adolescent Female Sexuality, and the Destabilization of Gender Binaries in Buffy the Vampire Slayer by Angelica De Vido

Staking Her Claim: Buffy the Vampire Slayer as Transgressive Woman Warrior by Frances H. Early

Actualizing Abjection: Drusilla, the Whedonversees’ Queen of Queerness by Anthony Stepniak

“Life Isn’t A Story”: Xander, Andrew and Queer Disavowal in Buffy the Vampire Slayer by Steven Greenwood

S/He’s a Rebel: The James Dean Trope in Buffy the Vampire Slayer by Kathryn Hill

“Once More, with Feeling”: Emotional Self-Discipline in Buffy the Vampire Slayer by Gwynnee Kennedy and Jennifer Dworshack-Kinter

“The Hardest Thing in This World Is To Live In It”: Identity and Mental Health in Buffy the Vampire Slayer by Alex Fixler

"Love's Bitch But Man Enough to Admit It": Spikes Hybridized Gender by Arwen Spicer

Negotiations After Hegemony: Buffy and Gender by Franklin D. Worrell

Double Trouble: Gothic Shadows and Self-Discovery in Buffy the Vampire Slayer by Elizabeth Gilliland

'What If I'm Still There? What If I Never Left That Clinic?': Faërian Drama in Buffy's "Normal Again" by Janet Brennan Croft

Not Gay Enough So You’d Notice: Poaching Fuffy by Jennifer DeRoss

Throwing Like A Slayer: A Phenomenology of Gender Hybridity and Female Resilience in Buffy the Vampire Slayer by Debra Jackson

“You Can’t Charge Innocent People for Saving Their Lives!” Work in Buffy the Vampire Slayer by Matt Davies

Ambiguity and Sexuality in Buffy the Vampire Slayer: A Sartrean Analysis by Vivien Burr

Imagining the Family: Representations of Alternative Lifestyles in Buffy the Vampire Slayer by Vivien Burr and Christine Jarvis

Working-Class Hero? Fighting Neoliberal Precarity in Buffy’s Sixth Season by Michelle Maloney-Mangold

A Corpse by Any Other Name: Romancing the Language of the Body in Mary Shelley's Frankenstein for the Adam Storyline in Buffy the Vampire Slayer by Amber P. Hodge

Sensibility Gone Mad: Or, Drusilla, Buffy and the (D)evolution of the Heroine of Sensibility by Claire Knowles

"It's good to be me": Buffy's Resistance to Renaming by Janet Brennan Croft

Death as a Gift in J.R.R. Tolkien’s Work and Buffy the Vampire Slayer by Gaelle Abalea

“All Torment, Trouble, Wonder, and Amazement Inhabits Here": The Vicissitudes of Technology in Buffy the Vampire Slayer by James B. South

Staking Her Colonial Claim: Colonial Discourses, Assimilation, Soul-making, and Ass-kicking in Buffy the Vampire Slayer by Jessica Hautsch

“I Run To Death”: Renaissance Sensibilities in Buffy the Vampire Slayer by Christine Jarvis

Dressed To Kill: Fashion and Leadership in Buffy the Vampire Slayer by Christine Jarvis and Don Adams

Queer Eye Of That Vampire Guy: Spike and the Aesthetics of Camp by Cynthea Masson and Marni Stanley

“Sounds Like Kinky Business To Me”: Subtextual and Textual Representations of Erotic Power in Buffyverse by Lewis Call

“Did Anyone Ever Explain to You What ‘Secret Identity’ Means?”: Race and Displacement in Buffy and Dark Angel  by Cynthia Fuchs

“It’s About Power”: Buffy, Foucault, and the Quest for Self by Julie Sloan Brannon

Why We Love the Monsters: How Anita Blake, Vampire Hunter, and Buffy the Vampire Slayer Wound Up Dating the Enemy by Hilary M. Leon

Why We Can’t Spike Spike?: Moral Themes in Buffy the Vampire Slayer by Richard Greene and Wayne Yuen

Buffy, the Scooby Gang, and Monstrous Authority: BtVS and the Subversion of Authority by Daniel A. Clark & P. Andrew Miller

Are Vampires Evil?: Categorizations of Vampires, and Angelus and Spike as the Immoral and the Amoral by Gert Magnusson

BOOKS ABOUT VAMPIRE LORE AND MYTH IN GENERAL

The Vampire Lectures by Laurence A. Rickels 

Our Vampires, Ourselves by Nina Auerbach

Vampires, Burial, and Death: Folklore and Reality by Paul Barber

The Secret History of Vampires: Their Multiple Forms and Hidden Purposes by Claude Lecouteux

The Vampire Cinema by David Pirie

The Living and the Undead: Slaying Vampires, Exterminating Zombies by Gregory A. Waller

Vampire Forensics: Uncovering the Origins of an Enduring Legend by Mark Jenkins

Slayers and Their Vampires: A Cultural History of Killing the Dead by Bruce A. McClelland

The History and Folklore of Vampires: The Stories and Legends Behind the Mythical Beings by Charles River Editors

Encyclopedia of Vampire Mythology by Theresa Bane

Vampires of Lore: Traits and Modern Misconceptions by A. P. Sylvia

The Vampire: A New History by Nick Groom

Vampyres: Genesis and Resurrection: from Count Dracula to Vampirella by Christopher Frayling

Race in the Vampire Narrative by U. Melissa Anyiwo

Vampires, Race, and Transnational Hollywoods by Dale Hudson

[gffa]

In honor of the 40th anniversary of the film’s debut on May 25, 1983, 40 storytellers explore the story of Return of the Jedi through the eyes of supporting characters, including heroes, villains, droids, aliens, and creatures.

From a Certain Point of View features contributions by bestselling authors:

Olivie Blake gives us a chilling glimpse into the mind of Emperor Palpatine.

Saladin Ahmed recounts the tragic history of the rancor keeper.

Charlie Jane Anders explores the life and times of the Sarlacc.

Fran Wilde reveals Mon Mothma’s secret mission to save the Rebel Alliance.

Mary Kenney chronicles Wicket the Ewok’s quest for one quiet day on the forest moon of Endor.

And Anakin Skywalker becomes one with the Force in a gripping tale by Mike Chen.

Plus, more hilarious, heartbreaking, and astonishing tales from Tom Angleberger, Kristin Baver, Akemi Dawn Bowman, Emma Mieko Candon, Olivia Chadha, Gloria Chao, Adam Christopher, Paul Crilley, Amal El-Mohtar, M. K. England, Jason Fry, Adam Lance Garcia, Lamar Giles, Max Gladstone, Thea Guanzon, Ali Hazelwood, Patricia A. Jackson, Alex Jennings, Jarrett Krosoczka, Sarah Kuhn, Danny Lore, Sarah Glenn Marsh, Kwame Mbalia, Marieke Nijkamp, Danielle Paige, Laura Pohl, K. Arsenault Rivera, Dana Schwartz, Tara Sim, Phil Szostak, Suzanne Walker, Hannah Whitten, Sean Williams, and Alyssa Wong.

[thebryanandsilvergarbage]

The 23rd Annual Bryan Awards - Acting Categories

Acting and Performance

Lead Actress in a Comedy Series: ABBOTT ELEMENTARY - Quinta Brunson as Janine Teagues (ABC) DEAD TO ME - Christina Applegate as Jen Harding (Netflix) MAISEL - Rachel Brosnahan as Miriam Maisel (Prime Video) ONLY MURDERS - Selena Gomez as Mabel Mora (Hulu) POKER FACE - Natasha Lyonne as Charlie (Peacock) 

Lead Actress in a Drama Series: BAD SISTERS - Sharon Horgan as Eva Garvey (Apple Plus) THE CROWN - Imelda Staunton as Queen Elizabeth II (Netflix) THE DIPLOMAT - Keri Russell as Kate Wyler (Netflix) THE HANDMAID’S TALE - Elisabeth Moss as June Osborne (Hulu) SUCCESSION - Sarah Snook as Shiv Roy (HBO) YELLOWJACKETS - Melanie Lynskey as Shauna Sadecki (Showtime) 

Lead Actress in a Limited or Anthology Series/TV Movie: BEEF - Ali Wong as Amy Lau (Netflix) DAISY JONES & THE SIX - Riley Keough as Daisy Jones (Prime Video) FLEISHMAN IS IN TROUBLE - Lizzy Caplan as Libby Epstein (Hulu) GEORGE & TAMMY - Jessica Chastain as Tammy Wynette (Showtime) LOVE & DEATH - Elizabeth Olsen as Candy Montgomery (HBO) TINY BEAUTIFUL THINGS - Kathryn Hahn as a Clare Pierce (Hulu)

Lead Actress in Daytime: THE BOLD AND THE BEAUTIFUL - Katherine Kelly Lang as Brooke Logan (CBS) THE BOLD AND THE BEAUTIFUL - Jacqueline MacInnes-Wood as Steffy Forrester (CBS) GENERAL HOSPITAL - Laura Wright as Carly Spencer (ABC) THE YOUNG AND THE RESTLESS - Melissa Claire Egan as Chelsea Newman (CBS) THE YOUNG AND THE RESTLESS - Michelle Stafford as Phyllis Summers (CBS)

Lead Actor in a Comedy Series: BARRY - Bill Hader as Barry (HBO) THE BEAR - Jeremy Allen White as Carmy Berzatto (Hulu) ONLY MURDERS IN THE BUILDING - Steve Martin as Charles-Haden Savage (Hulu) ONLY MURDERS IN THE BUILDING - Martin Short as Oliver Putnam (Hulu)

TED LASSO - Jason Sudeikis as Ted Lasso (Apple Plus)

Lead Actor in a Drama Series: BETTER CALL SAUL - Bob Odenkirk as Saul Goodman/Jimmy McGill (AMC) THE LAST OF US - Pedro Pascal as Joel (HBO) THE OLD MAN - Jeff Bridges as Dan Chase (F/X) SUCCESSION - Brian Cox as Logan Roy (HBO) SUCCESSION - Kieran Culkin as Roman Roy (HBO) SUCCESSION - Jeremy Strong as Kendall Roy (HBO)

Lead Actor in a Limited or Anthology Series/TV Movie: BEEF - Steven Yeun as Danny Cho (Netflix) BLACK BIRD - Taron Egerton as James Keene (Apple Plus) GEORGE & TAMMY - Michael Shannon as George Jones (Showtime) MONSTER - Evan Peters as Jeffrey Dahmer (Netflix) WEIRD - Daniel Radcliffe as “Weird Al” Yankovic (Roku) WELCOME TO CHIPPENDALES - Kumail Nanjiani as Somen “Steve” Banerjee (Hulu) 

Lead Actor in Daytime: THE BOLD AND THE BEAUTIFUL - Thorsten Kaye as Ridge Forrester (CBS) DAYS OF OUR LIVES - Dan Feuerriegel as E.J. DiMera (NBC & Peacock) DAYS OF OUR LIVES - Billy Flynn as Chad DiMera (NBC & Peacock) GENERAL HOSPITAL - Maurice Benard as Sonny Corinthos (ABC) THE YOUNG AND THE RESTLESS - Jason Thompson as Billy Abbott (CBS)

Lead Performer in a New Series: THE BEAR - Jeremy Allen White as Carmen Berzatto (Hulu) THE DIPLOMAT - Keri Russell as Kate Wyler (Netflix) THE LAST OF US - Pedro Pascal as Joel (HBO) THE OLD MAN - Jeff Bridges as Dan Chase (F/X) SHRINKING - Jason Segel as Jimmy Laird (Apple Plus) SO HELP ME TODD - Marcia Gay Harden as Margaret (CBS) WEDNESDAY - Jenna Ortega as Wednesday Addams (Netflix)

Younger Performer in Daytime: THE BOLD AND THE BEAUTIFUL - Henry Samiri as Douglas Forrester (CBS) DAYS OF OUR LIVES - Christopher Cary as Thomas DiMera (NBC) GENERAL HOSPITAL - William Lipton as Cameron Webber (ABC) GENERAL HOSPITAL - Eden McCoy as Josslyn Jacks (ABC) GENERAL HOSPITAL - Avery Kristen Pohl as Esme Prince (ABC) 

Younger Performer in Primetime: FLEISHMAN IS IN TROUBLE - Meara Mahoney Gross as Hannah Fleishman (Hulu) THE LAST OF US - Belle Ramsay as Ellie (HBO) THE LAST OF US - Keivonn Montreal Woodard as Sam Burrell (HBO) THAT ‘90s SHOW - Callie Haverda as Leia Forman (Netflix) WEDNESDAY - Jenna Ortega as Wednesday Addams (Netflix) YOUNG SHELDON - Iain Armitage as Sheldon Cooper (CBS)

Supporting Actress in a Comedy Series: ABBOTT ELEMENTARY - Janelle Jones as Ava Coleman (ABC) ABBOTT ELEMENTARY - Sheryl Lee Ralph as Barbara Howard (ABC) THE BEAR - Ayo Edebiri as Sydney Adamu (Hulu) MAISEL - Alex Borstein as Susie Myerson (Prime Video) THE OTHER TWO - Molly Shannon as Pat (HBO Max) SHRINKING - Jessica Williams as Gaby (Apple Plus) TED LASSO - Juno Temple as Keeley Jones (Apple Plus) TED LASSO - Hannah Waddingham as Rebecca Welton (Apple Plus)

Supporting Actress in a Drama Series: BETTER CALL SAUL - Carol Burnett at Marion (AMC) BETTER CALL SAUL - Rhea Seehorn as Kim Wexler (AMC) THE CROWN - Elizabeth Debicki as Diana, Princess of Wales (Netflix) SUCCESSION - J. Smith-Cameron as Gerri Kellman (HBO) THE WHITE LOTUS - Jennifer Coolidge as Tanya McQuoid-Hunt (HBO) THE WHITE LOTUS - Meghann Fahy as Daphne Sullivan (HBO) THE WHITE LOTUS - Aubrey Plaza as Harper Spiller (HBO) THE WHITE LOTUS - Simona Tabasco as Lucia (HBO)   

Supporting Actress in a Limited/Anthology Series or TV Movie: BEEF - Maria Bello as Jordana Forster (Netflix) FLEISHMAN IS IN TROUBLE - Claire Danes as Rachel Fleishman (Hulu) LOVE & DEATH - Lily Rabe as Betty Gore (HBO) MONSTER - Niecy Nash-Betts as Glenda Cleveland (Netflix) TINY BEAUTIFUL THINGS - Merritt Wever as Frankie Pierce (Hulu) WELCOME TO CHIPPENDALES - Annaleigh Ashford as Irene Banerjee (Hulu) WELCOME TO CHIPPENDALES - Juliette Lewis as Denise (Hulu)

Supporting Actress in Daytime: THE BOLD AND THE BEAUTIFUL - Krista Allen as Taylor Hayes (CBS) DAYS OF OUR LIVES - Stacy Haiduk as Kristen DiMera (NBC & Peacock) GENERAL HOSPITAL - Sonya Eddy as Epiphany Johnson (ABC) GENERAL HOSPITAL - Brook Kerr as Dr. Portia Robinson (ABC) GENERAL HOSPITAL - Kelly Thiebaud as Dr. Britt Westbourne (ABC) THE YOUNG AND THE RESTLESS - Susan Walters as Diane Jenkins (CBS)

Supporting Actor in a Comedy Series: ABBOTT ELEMENTARY - Tyler James Williams as Gregory Eddie (ABC) BARRY - Anthony Carrigan as NoHo Hank (HBO) BARRY - Henry Winkler as Gene Cousineau (HBO) THE BEAR - Ebon Moss-Bachrach as Richie Jerimovich (Hulu) JURY DUTY - James Marsden as Himself (FreeVee) SHRINKING - Harrison Ford as Dr. Paul Rhoades (Apple Plus) TED LASSO - Phil Dunster as Jamie Tartt (Apple Plus) TED LASSO - Brett Goldstein as Roy Kent (Apple Plus)

Supporting Actor in a Drama Series: BETTER CALL SAUL - Giancarlo Esposito as Gustavo Fring (AMC) SUCCESSION - Nicholas Braun as Greg Hirsch (HBO) SUCCESSION - Matthew Macfadyen as Tom Wambsgans (HBO) SUCCESSION - Alan Ruck as Connor Roy (HBO) SUCCESSION - Alexander Skarsgard as Matsson (HBO) THE WHITE LOTUS - F. Murray Abraham as Bert Di Grasso (HBO) THE WHITE LOTUS - Michael Imperioli as Dominic Di Grasso (HBO) THE WHITE LOTUS - Theo James as Cameron Sullivan (HBO) 

Supporting Actor in a Limited/Anthology Series or TV Movie: BEEF - Young Mazino as Paul Cho (Netflix) BLACK BIRD - Paul Walter Hauser as Larry Hall (Apple Plus) BLACK BIRD - Ray Liotta as Big Jim Keene (Apple Plus) FLEISHMAN IS IN TROUBLE - Adam Brody as Seth Morris (Hulu) LOVE & DEATH - Jesse Plemons as Allan Gore (HBO Max) MONSTER - Richard Jenkins as Lionel Dahmer (Netflix) WELCOME TO CHIPPENDALES - Murray Bartlett as Nick DeNoia (Hulu)

Supporting Actor in Daytime: THE BOLD AND THE BEAUTIFUL - Matthew Atkinson as Thomas Forrester (CBS) BEYOND SALEM/DAYS OF OUR LIVES - Steve Burton as Harris Michaels (Peacock) GENERAL HOSPITAL - Nicholas Chavez as Spencer Cassidine (ABC) GENERAL HOSPITAL - Chad Duell as Michael Corinthos (ABC) GENERAL HOSPITAL - Robert Gossett as Marshall Ashford (ABC) THE YOUNG AND THE RESTLESS - Bryton James as Devon Hamilton (CBS)

Supporting Performer in a New Series: BAD SISTERS - Eva Birthistle as Ursula Flynn (Apple Plus) THE BEAR - Ayo Edebiri as Sydney Adamu (Hulu) THE BEAR - Ebon Moss-Bachrach as Richard “Richie” Jerimovich (Hulu)

JURY DUTY - James Marsden as Himself (FreeVee) THE OLD MAN - John Lithgow as Harold Harper (F/X) SHRINKING - Harrison Ford as Dr. Paul Rhoades (Apple Plus) WEDNESDAY - Gwendoline Christie as Larissa Weems (Netflix)

Guest Actress in a Comedy Series: ABBOTT ELEMENTARY - Taraji P. Henson as Vanetta (ABC) ONLY MURDERS IN THE BUILDING - Jane Lynch as Sazz Pataki (Hulu) POKER FACE - Judith Light as Irene Smothers (Peacock) SATURDAY NIGHT LIVE - Quinta Brunson as Host/Various Characters (NBC) TED LASSO - Becky Ann Baker as Dottie Lasso (Apple Plus) TED LASSO - Harriet Walter as Deborah (Apple Plus) 

Guest Actor in a Comedy Series: ABBOTT ELEMENTARY - Leslie Odom Jr. as Draemond (ABC) THE BEAR - Jon Bernthal as Mikey Berzatto (Hulu) THE BEAR - Oliver Platt as Pops (Hulu) MAISEL - Luke Kirby as Lenny Bruce (Prime Video) SATURDAY NIGHT LIVE - Steve Martin & Martin Short as Co-Hosts/Various Characters (NBC) TED LASSO - Sam Richardson as Edwin Akufo (Apple Plus) 

Guest Actress in a Drama Series: THE LAST OF US - Melanie Lynskey as Kathleen (HBO) THE LAST OF US - Storm Reid as Riley Abel (HBO) THE LAST OF US - Anna Torv as Theresa “Tess” Servopoulos (HBO) SUCCESSION - Hope Davis as Sandi Furness (HBO) SUCCESSION - Cherry Jones as Nan Pierce (HBO) SUCCESSION - Harriet Walter as Lady Caroline Collingwood (HBO) 

Guest Actor in a Drama Series: BETTER CALL SAUL - Mark Margolis as Hector “Tio” Salamanca (AMC) THE LAST OF US - Murray Bartlett as Frank (HBO) THE LAST OF US - Lamar Johnson as Henry Burrell (HBO) THE LAST OF US - Nick Offerman as Bill (HBO) THE MANDALORIAN - Giancarlo Esposito as Moff Gideon (HBO) SUCCESSION - James Cromwell as Ewan Roy (HBO) 

Guest Performer in Daytime: GENERAL HOSPITAL - Denise Crosby as Dr. Carolyn Webber (ABC) GENERAL HOSPITAL - Alley Mills as Heather Webber (ABC) GENERAL HOSPITAL - Linda Purl as Peyton Honeycutt (ABC) THE YOUNG AND THE RESTLESS - Barbara Crampton as Leanna Love (CBS) THE YOUNG AND THE RESTLESS - James Hyde as Jeremy Stark (CBS) THE YOUNG AND THE RESTLESS - Robert Newman as Ashland Locke (CBS)

Guest Performer in a New Series: THE BEAR - Jon Bernthal as Mikey Berzatto (Hulu) THE BEAR - Oliver Platt as Pops (Hulu) THE LAST OF US - Murray Bartlett as Frank (HBO) THE LAST OF US - Melanie Lynskey as Kathleen (HBO) THE LAST OF US - Nick Offerman as Bill (HBO) WEDNESDAY - Catherine Zeta-Jones as Morticia Addams (Netflix) 

Performance by a Cast in a Comedy Series: Abbott Elementary (ABC) Barry (HBO) The Bear (F/X) The Marvelous Mrs. Maisel (Prime Video) Saturday Night Live (NBC) Ted Lasso (Apple Plus)

Performance by a Cast in a Drama Series: Bad Sisters (Apple Plus) Better Call Saul (AMC) The Crown (Netflix) The House of the Dragon (HBO) Succession (HBO) The White Lotus (HBO)

Performance by a Cast in a Limited/Anthology Series or TV Movie: Beef (Netflix) Daisy Jones and the Six (HBO) Five Days At Memorial (Apple Plus) Fleishman in Trouble (Hulu) Welcome to Chippendales (Hulu) The White House Plumbers (HBO) 

Performance by a Cast in Daytime: The Bay (Pop TV) Beyond Salem & Days of Our Lives (Peacock) The Bold and the Beautiful (CBS) General Hospital (ABC) The Young and the Restless (CBS)

Performance by a Cast in a New Series: Bad Sisters (Apple Plus) The Bear (F/X) The House of the Dragon (HBO) Jury Duty (FreeVee) So Help Me Todd (CBS) Wednesday (Netflix)

Screen Couples

Screen Duo or Trio in a Comedy or Variety Series: THE GREAT - Nicholas Hoult and Elle Fanning (Hulu) ONLY MURDER IN THE BUILDING - Steve Martin, Martin Short, and Selena Gomez (Hulu) SATURDAY NIGHT LIVE - Steve Martin and Martin Short (NBC) SATURDAY NIGHT LIVE - Michael Che and Colin Jost (NBC) SCHMIGADOON - Cecily Strong and Keegan-Michael Key (Apple Plus)

Screen Duo or Trio in a Drama Series: BETTER CALL SAUL - Bob Odenkirk and Rhea Seehorn (AMC) THE CROWN - Dominic West and Elizabeth Debicki (Netflix) THE GOOD DOCTOR - Freddie Highmore and Paige Spara (ABC) THE LAST OF US - Murray Bartlett and Nick Offerman (HBO) SUCCESSION - Any two (or more) Roy Siblings (HBO) 

Screen Duo or Trio in a Limited/Anthology Series or TV Movie: BEEF - Steven Yeun and Ali Wong (Netflix) DAISY JONES AND THE SIX - Sam Claflin and Riley Keough (HBO) FLEISHMAN IS IN TROUBLE - Jesse Eisenberg, Lizzy Caplan, and Claire Danes (Hulu) GEORGE & TAMMY - Michael Shannon and Jessica Chastain (Showtime) HOCUS POCUS 2 - Bette Midler, Sarah Jessica Parker, and Kathy Najimy (Disney Plus) 

Screen Duo or Trio in Daytime: GENERAL HOSPITAL - Maurice Benard and Cynthia Watros (ABC) GENERAL HOSPITAL - Chad Duell and Katelyn MacMullen (ABC) GENERAL HOSPITAL - James Patrick Stuart and Finola Hughes (ABC) LIVE WITH KELLY AND MARK - Kelly Ripa and Mark Consuelos (ABC/Syndicated) THE YOUNG AND THE RESTLESS - Peter Bergman and Susan Walters (CBS)

Host Categories

Late Night Host: THE DAILY SHOW - Trevor Noah (Comedy Central) JIMMY KIMMEL LIVE - Jimmy Kimmel (ABC) LAST WEEK TONIGHT - John Oliver (HBO) THE LATE SHOW - Stephen Colbert (CBS) THE PROBLEM WITH - Jon Stewart (Apple Plus)

Daytime Talk Host: THE DREW BARRYMORE SHOW - Drew Barrymore (Syndicated) THE JENNIFER HUDSON SHOW - Jennifer Hudson (Syndicated) THE KELLY CLARKSON SHOW - Kelly Clarkson (NBC/Syndicated) LIVE WITH KELLY and MARK - Kelly Ripa & Mark Consuelos (ABC/Syndicated) THE TALK - The Hosts of The Talk (CBS)

Reality Host: BAKING IT - Amy Poehler & Maya Rudolph (Peacock) NAILED IT - Nicole Byer (Netflix) QUEER EYE - The Hosts of Queer Eye (Netflix) RUPAUL’S DRAG RACE - RuPaul Charles (VH1) SURVIVOR - Jeff Probst (CBS) TOP CHEF - Padma Lakshmi (Bravo)

Game Show Host: FAMILY FEUD - Steve Harvey (ABC/Syndicated) JEOPARDY - Mayim Bialik (ABC/Syndicated) JEOPARDY - Ken Jennings (ABC/Syndicated) LET’S MAKE A DEAL - Wayne Brady (CBS) PASSWORD - Keke Palmer (NBC) WHEEL OF FORTUNE - Pat Sajak (Syndicated)

[politikwatch]

Dieser Film ist einfach toll 🫶 Ganz großes Kino.

[notwiselybuttoowell]

Nearly six years after it was engulfed by a devastating fire that inflicted incalculable damage on Brazil’s cultural heritage, the country’s national museum has received an important donation of more than a thousand fossils as part of a campaign to help rebuild the collection lost to the flames.

The fire, caused by an electrical short-circuit on the night of 2 September 2018, consumed the former imperial palace which housed the 200-year-old museum in a park just north of Rio de Janeiro’s city centre and destroyed about 85% of its archive of 20m artefacts.

Losses included Egyptian and Greco-Roman relics acquired by the Brazilian imperial family, a large dinosaur named Dinoprata, and invaluable records of Indigenous life and culture in pre-colonial times.

Efforts are now under way to rebuild the collection ahead of the museum’s planned reopening in April 2026. Reconstruction works on St Christopher’s Palace began in 2021. The restored facade and front courtyard were unveiled a year later, but works continue on the rest of the building.

“It was an enormous tragedy but we need to look ahead and rebuild the institution. Brazil needs its national museum back,” Alexander Kellner, the institution’s director, told reporters on Tuesday, celebrating “this magical moment of the [fossil] donation”.

It is the most important donation of fossils received by the museum in recent history and of vital scientific significance, he said.

The 1,104 fossils donated by the Swiss-German collector Burkhard Pohl all originate from the Araripe Basin, an area spanning the states of Ceará, Pernambuco and Piauí in north-eastern Brazil where two geological formations contain palaeontological material from the Early Cretaceous period.

The donated specimens include two unique dinosaur fossils, a Tetrapodophis – possibly the earliest snake fossil – and two unstudied pterosaur skulls. They will be on display in future palaeontology exhibitions as well as contribute to scientific research at the museum, which is part of the Federal University of Rio de Janeiro (UFRJ).

As part of a collaboration between the museum and Pohl’s Swiss-based Interprospekt Group, UFRJ palaeontologists and students are taking part in excavation expeditions in Wyoming and Montana in the US, in the hopes of discovering dinosaurs which could later be displayed in Brazil.

The aim is to have gathered about 10,000 objects for exhibition by the time the museum reopens, Keller said, about twice the size of the display before the fire. He estimates the museum currently has about 2,000 pieces.

Digital versions of destroyed pieces will also be included, although their loss is “irretrievable”, said Keller.

“We can’t recreate what was lost, but we can show new objects. Various people have already made donations,” he said, citing the gift of an original portrait of Maria Leopoldina, Empress of Brazil.

The institution’s Indigenous ethnology section suffered particularly severe losses and researchers are working closely with Indigenous Brazilians to ensure the reconstructed collection includes their perspective.

[fearsmagazine]

WINTER FILM AWARDS, Winter FEAR Award Winners.

Who is this guy giving out the awards for Winter FEAR Award – Best Horror Short & feature?

Who cares because the awards went to: 1. Winter FEAR Award – Best Horror Short Film: "My Left Arm" Directed by Melissa Vitello & Christopher Sheffield 2. Winter FEAR Award – Best Horror Feature Film: PEACOCK Directed by Jaco Minnaar

It was a good night for horror as two other genre films took awards in other categories: 1. Best Student Film – “The Call of Water” directed by Kaya Tone 2. Best Actor in a Feature Film - Tarryn Wyngaard as Anna Pohl in PEACOCK

PEACOCK also won the IndiePix Vision Award, a unique distribution offer from IndiePix Films, including but not limited to DVD release, Virtual Cinema exhibition, and Digital placement on the IndiePix Unlimited Amazon Prime Video Channel.

[lokaleblickecom]

Reduzierte Scherpenberger LED-Weihnachtsbeleuchtung als Signal des Sparens, der Hoffnung und Freude

Moers. Auch in Scherpenberg geht das Thema Energiemangellage an der Weihnachtsbeleuchtung inkl. Kometenallee nicht spurlos vorbei. Deshalb haben "Die Scherpenberg Aktiven" sich entschieden, von den 24 LED-Kometen lediglich ein Dutzend in der Mitte von Scherpenberg aufhängen zu lassen.  Der Weihnachtsbaum am Karlsplatz erstrahlt mit seiner 50 Meter langen LED-Lichterkette und dem Kugel- und Schleifenschmuck allerdings in voller Pracht, auch um insgesamt ein helles Zeichen der Hoffnung in schwierigen Zeiten und zur Freude der Menschen zu setzen! Dieses Ziel kann nur mittels gemeinsamer Anstrengungen und Unterstützung erreicht werden. Unser großer Dank gilt daher folgenden Institutionen, die schon viele Jahre unsere ehrenamtlichen Bemühungen unterstützen und dadurch erst möglich machen: Freiwillige Feuerwehr Scherpenberg (Aufhängung Kometen), Sparkasse am Niederrhein (Sponsoring Baum), Holbeck Transporte (Kran zur Baumaufstellung),  Sanitär- und Heizungstechnik Wolfgang Pohl (Sponsoring), Siedlervereinigung Niederrhein - Ortsgemeinschaft Scherpenberg (Sponsoring), Allianz Christopher Schmidtke (Versicherung der Weihnachtsbeleuchtung), ENNI (techn. Betreuung). Claus Peter Küster Sprecher "Die Scherpenberg Aktiven" Foto: cpk Read the full article

[montysworld]

Iris van Herpen - Dimensionism (dir. David Uzochukwu) from Christopher Aoun on Vimeo.

The birth of Iris van Herpen's glass dress, blown by Bernd Weinmayer.

Director: David Uzochukwu

Model: Diandra Forrest Casting Director: Maxime Valentini

Director of Photography: Christopher Aoun Editor: Sander Houtkruijer Music and Sound Design: Marlon Beatt

Production company: Iconoclast Germany Executive Producer: Carla Marboeuf Producer: Kira Pohl Producer / AD: Josephine Conen Production Assistant: Laura Höner

Production Designer: Karin Betzler

Make Up Artist: David Koppelaar Make Up Assistan: Victoria Osborn Hair: Eldridge Mullenhof

Gaffer: Willem van der Eerden Best Boy: Aaron Tschanz Electrician: Rjik Vollaers

Post Producer: Leonidas Befeldt Colorist: Joakim Rissveds VFX Artist: James Barry

[ulrichgebert]

Unser glamouröses Sylvester-Event ist nun leider nicht gar so glamourös geraten, wie wir uns es vorgestellt haben. Erstmal waren wir etwas enttäuscht, daß meine in Tuttlingen weltberühmte Klassenkameradin Marlis Petersen nicht als Lustige Witwe erschien, obwohl ich den Termin von ihrer Homepage entnommen hatte. Wir waren aber völlig gewillt, uns trotzdem auf die umjubelte Frankfurter Produktion einzulassen. Die Wiederaufnahmen-Ersatzwitwe Kirsten MacKinnon singt zwar wie ein Engele, verfügt aber nicht über Marlis’ beherrschende Bühnenpräsenz, klare Diktion und schauspielerische Präzision, was leider dazu führt, daß sich die Brillanz von Claus Guths Inszenierung, deren Stärke offensichtlich darin bestand, dem Operettenschmäh echte Gefühle entgegenzusetzen, zwar noch erahnen, aber nicht mehr wirklich erleben lässt. Es ist natürlich trotzdem ganz hübsch, auch: einmal eine funktionierende große Opernbühnentechnik zu erleben, aber wenn wir das gewußt hätten, wären wir nicht gekommen.

[rwpohl]

*

[hdslibrary]

Dissertation with a Vampire

In recognition of the death of prolific author Anne Rice over the past weekend, here is an 18th century tract analyzing some contemporary vampire-like phenomena.

Pohl, Johann Christoph. Dissertationem de hominibus post mortem sanguisugis, vulgo sic dictis Vampyren. Lipsiae, Literis Jo. Chistiani Langenhemii [1732]

[sophielovesbooks]

Sophie’s Exhaustive Dark Academia List

For a while now, since my dark academia rec list was such an unexpected success, I’ve wanted to create a list of all the dark academia books I’m personally aware of, regardless of whether I have already read them, as sort of a resource for the community. I have now done just that!

The titles in bold are the ones I have read. The ones I would especially recommend (which, okay, yeah, are almost all of the ones I’ve read) are in bold and italics. Note that this doesn’t mean I loved absolutely everything about the recommended book, just that I think it was good or worth reading overall. 

If anybody is aware of a dark academia read that didn’t make the list, please leave a comment and I’ll update the list! Thank you! And thank you to everyone who has already recommended titles to me, helping me compile this list! :)

Also, just to be clear: My personal definition of dark academia would be a story that is set at a school or university or focuses heavily on academia otherwise (maybe the characters are in a secret book or debate club, discuss academic topics, something like that) and in which something bad or dark happens. This could be a crime (violent or non-violent), an accidental death, something supernatural going on... Note: Some of the books on the list (meaning of those I haven’t read) might only fit a looser definition of dark academia, e.g. maybe they have a dark subject matter and include some intellectual elements, even if the setting isn’t actually an academic institution. 

And now, without further ado, enjoy!! As I said, I hope this will be a good resource for the dark academia community! And I want to update this list regularly so that it’s as exhaustive as possible! :)

A Beautiful Doom (Laura Pohl)

Academy Gothic (James Tate Hill)

Ace of Spades (Faridah Abike-Ayimide)

A Fatal Inversion (Barbara Vine)

A Good Girl’s Guide to Murder (Holly Black)

A Great and Terrible Beauty (Libba Bray)

A Lesson in Vengeance (Victoria Lee)

An Education in Ruin (Alexis Bass)

A Question of Holmes (Brittany Cavallaro)

A Separate Peace (John Knowles)

As Good As Dead (Holly Black)

A Student of History (Nina Revoyr)

A Study in Charlotte (Brittany Cavallaro)

All Summer in a Day (Ray Bradbury)

As I Descended (Robin Talley)

Bad Habits (Amy Gentry)

Black Chalk (Christopher J. Yates)

Brideshead Revisited (Evelyn Waugh)

Bunny (Mona Awad)

Cat Among the Pigeons (Agatha Christie)

Catherine House (Elisabeth Thomas)

Different Class (Joanne Harris)

Dismantled (Jennifer McMahon)

D.O.G.S. (M. A. Bennett)

For Your Own Good (Samantha Downing)

F.O.X.E.S. (M. A. Bennett)

Gaudy Night (Dorothy L. Sayers)

Gentleman and Players (Joanna Harris)

Girlhood (Cat Clarke)

Give Me Your Hand (Megan Abbott)

Good Girl, Bad Blood (Holly Black)

Good Girls Lie (J. T. Ellison)

Hex (Rebecca Dinerstein Knight)

House of Leaves (Mark Z. Danielewski)

How We Fall Apart (Katie Zhao)

If We Were Villains (M. L. Rio)

In My Dreams I Hold A Knife (Ashley Winstead)

Kill All Your Darlings (David Bell)

Killing November (Adriana Mather)

Miss Pym Disposes (Josephine Tey)

Murder Scholastic (Janet Caird)

Ninth House (Leigh Bardugo)

Party Girls Die in Pearls (Plum Sykes)

Peace Breaks Out (John Knowles)

People Like Us (Dana Mele)

Picnic at Hanging Rock (Joan Lindsay)

Private (Kate Brian)

Shadow of the Lions (Christopher Swann)

Sleepwalking (Meg Wolitzer)

Special Topics in Calamity Physics (Marisha Pessl)

S.T.A.G.S. (M.A. Bennett)

Summer Sons (Lee Mandelo)

The Basic Eight (Daniel Handler)

The Bellweather Revival (Benjamin Wood)

The Book and the Brotherhood (Iris Murdoch)

The Case for Jamie (Brittany Cavallaro)

The Chandler Legacies (Abdi Nazemian)

The Club (Takis Würger)

The Deceivers (Kristen Simmons)

The Devil Makes Three (Tori Bovalino)

The Disreputable History of Frankie Landau-Banks (E. Lockhart)

The End of Mr. Y (Scarlett Thomas)

The Furies (Katie Lowe)

The Furies (Natalie Haynes)

The Girls Are All So Nice Here (Laurie Elizabeth Flynn)

The Hand on the Wall (Maureen Johnson)

The Ivies (Alexa Donne)

The Lake of Dead Languages (Carol Goodman)

The Last of August (Brittany Cavallaro)

The Lessons (Naomi Alderman)

The Likeness (Tana French)

The Lying Game (Ruth Ware)

The Maidens (Alex Michaelides)

The Mary Shelley Club (Goldy Moldavsky)

The Night Climbers (Ivo Stourton)

The Orchard (David Hopen)

The Secret History (Donna Tartt)

The Secret Place (Tana French)

The Shadow Year (Hannah Richell)

The Swallows (Lisa Lutz)

The Truants (Kate Weinberg)

The Vanishing Stairs (Maureen Johnson)

The Wave (Morton Rhue)

The Wishing Game (Patrick Redmond)

The Wyndham Case (Imogen Quy)

The Year of the Gadfly (Jennifer Miller)

These Violent Delights (Micah Nemerever)

They Never Learn (Layne Fargo)

They Wish They Were Us (Jessica Goodman)

T.I.G.E.R.S. (M. A. Bennett)

Truly Devious (Maureen Johnson)

Trust Exercise (Susan Choi)

Very Bad People (Kit Frick)

White Ivy (Susie Yang)

Without Anette (Jane B. Mason)

[fashionbooksmilano]

Wild Thing

Modeszene Schweiz / The Swiss Fashion Scene

Museum für Gestaltung Zürich, Karin Gimmi, Christoph Hefti  With contributions by Moritz Ahrens-Pohle, Michelle Nicol, Evelyne Roth, Katharina Thietze and Jeroen van Rooijen.

Scheidegger & Spiess, Zürich 2021, 136 pages, 217 color and 40 b/w illustrations, 23 x 28.5 cm,Text English and German, Paperback, Isbn  978-3-03942-015-5

euro 30,00

email if you want to buy :booksinprogressmilano@yahoo.it

An insight into a vibrant scene: portraits of around fifty innovative modern Swiss fashion labels

What kind of fashion exists without mass production, without Hollywood and international fashion weeks? In Switzerland, far from the international spotlight and the dictates of the major fashion hubs, small labels, collectives, and young graduates as well as established brands test their potential for greatness. Creative designers take initiative and position themselves in Berlin, join the fashion circus in Paris, or establish clever business models at home in Switzerland. Wild Thing—The Swiss Fashion Scene, published in conjunction with an exhibition at Museum für Gestaltung Zürich, puts a spotlight on this development and the products resulting from it. The book picks up on current topics—such as minimalism and the questioning of assigned gender identities—that shape designs, design concepts, and processes. Lavishly illustrated, it features looks and creations by important labels, selected outfits, textile inventions, and collection presentations. Together with brief interviews, portraits of individual designers, and text contributions, Wild Thing—The Swiss Fashion Scene is a highly attractive snapshot of Switzerland’s creative and vibrant fashion scene.  In addition, the book contains links to short print-in-motion videos, which can be watched by pointing a smartphone camera at the corresponding image. The videos offer portraits of designers, interviews with fashion experts, and contributions from fashion schools.

21/01/22

orders to: booksinprogressmilano@yahoo.it

ordini a: booksinprogressmilano@yahoo.it

twitter: @fashionbooksmi

instagram: fashionbooksmilano, designbooksmilano tumblr: fashionbooksmilano, designbooksmilano

[smol-sirens-garden-tobemoved]

Mobile About Pages

Hello Everyone, Ashley here!

So I figured I could use some about pages that are better viewed by mobile tumblr users so that is what this is. I am trying to make sure they have the same info as the other about pages but some things may be different based on the template I am using (AKA not on there). It is organized like my muses page- Alphabetical by series and then character. Hope this helps!

AMNESIA - Ikki - Ukyo

BANANA FISH - Ash Lynx - Bones - Shorter Wong - Yut Lung Lee

BLEACH - Rangiku Matsumoto

BROTHERS CONFLICT - Louis Asahina

BUNGOU STRAY DOGS - Christopher Paolini (OC) - Chuuya Nakahara - Doppo Kunikida - Hansuke Saito (OC) - Lirael Nix (OC) - Ogai Mori - Osamu Dazai - Ranpo Edogawa - Ryunosuke Akutagawa - Yoko Tawada-Fukuzawa (OC) - Yukichi Fukuzawa

CASE STUDY OF VANITAS - Jeanne - Luca - Noe Archivste - Roland Fortis

DIABOLIK LOVERS - Reiji Sakamaki - Subaru Sakamaki - Yuma Mukami

FAIRY TAIL - Bisca Connell - Freed Justine - Frosch - Lahar (Canon Divergent) - Levy McGarden - Rufus Lore - Yukino Aguria

FATAL FRAME - Ren Hojo - Rui Kagamiya

FINAL FANTASY - Aerith Gainsborough - Madam M - Merle - Reno

GENSHIN IMPACT - Baizhu - Beidou - Kaeya Alberich - Kazuha Kaedehara - Lisa Minci - Miko Yae - Razor - Zhongli

HAIKYUU - Kenma Kosume - Kiyoko Shimizu - Koshi Sugawara

HETALIA - America - China - Finland - Germany

HOWLS MOVING CASTLE - Howl Jenkins Pendragon

HYPNOSIS MICROPHONE - Gentaro Yumeno - Haruki Ishii (OC) - Hifumi Izanami - Ichijiku Kadenokoji - Ichiro Yamada - Iris Innocent Traitor - Jakurai Jinguji - Jyushi Aimono - Kuko Harai - Ramuda Amemura - Rosho Tsutsujimori - Saburo Yamada - Sasara Nurude - Tom Whisper Weathercock

K/K PROJECT - Saruhiko Fushimi

KINGDOM HEARTS - Isa/Saix

THE LAST OF US - Dina

LEAGUE OF LEGENDS - Evelynn (KDA)

MY HERO ACADAMIA - Hitoshi Shinso - Mina Ashido - Mirio Togata - Rei Todoroki - Shota Aizawa

MYSTIC MESSENGER - Mariah (MC) - Saeran Choi - Yoosung Kim - Zen

OURAN HIGHSCHOOL HOST CLUB - Mitsukuni "Honey" Haninozuka

PERSONA 4/5 - Nanako Dojima - Akira Kurusu - Yusuke Kitagawa

ROKKA NO YUUSHA - Hans Humpty

RWBY - Neopolitan - Nora Valkyrie

SERVAMP - Snow Lily

SK8 THE INFINITY - Kaoru Sakurayashiki

VISUAL PRISON - Dimitri Romanee - Elizabeth Veuve - Mist Flaive - Robin Laffite

VOLTRON - Krolia - Pidge/Katie Holt

YURI ON ICE - Otabek Altin - Yuri Plisetsky

MULTIFANDOM OC'S - Alastair Glenn (OC) - Alphonse Dupont (OC) - Chikeo Shirayuki (OC) - Daisuke Hattori (OC) - Dimitri Volkoc (OC) - Dorian Allard (OC) - Elias Pohl (OC) - Finn Krause (OC) - Isamu Hirota (OC) - Kai Takashi (OC) - Noah Pohl (OC) - Souta Matsuda (OC) - Tomoni Matsuda (OC) - Toshiro Denholm (OC)

[christopheraoun-photo-blog]

Iris van Herpen - Dimensionism from Christopher Aoun on Vimeo.

The birth of Iris van Herpen's glass dress, blown by Bernd Weinmayer.

Director: David Uzochuk

Model: Diandra Forrest Casting Director: Maxime Valentini

Director of Photography: Christopher Aoun Editor: Sander Houtkruijer Music and Sound Design: Marlon Beatt

Production company: Iconoclast Germany Executive Producer: Carla Marboeuf Producer: Kira Pohl Producer / AD: Josephine Conen Production Assistant: Laura Höner

Production Designer: Karin Betzler

Make Up Artist: David Koppelaar Make Up Assistan: Victoria Osborn Hair: Eldridge Mullenhof

Gaffer: Willem van der Eerden Best Boy: Aaron Tschanz Electrician: Rjik Vollaers

Post Producer: Leonidas Befeldt Colorist: Joakim Rissveds VFX Artist: James Barry

[twentiethcenturymoviesandtv]

Star Trek: Facets of Filmmaking

As it turns out, before Star Trek was fully realized in the form we know today, the show was originally not going to be about Kirk and the Enterprise at all.  In fact, it was going to be about a ship called the S.S. Yorktown, captained by a man named Robert April, on a mission to explore the Milky Way galaxy.  The original concept, still named Star Trek and set in the 23rd century, was loosely based on the Horatio Hornblower novels, and took inspiration from The Voyage of the Space Beagle, the Marathon series and the 1956 film Forbidden Planet.

By the year 1964, when this idea began to take shape, Gene Roddenberry, creator of Star Trek was an experienced writer for western television shows, and was well accustomed to (at the time) television’s favorite and most popular genre.  By 1964, however, Roddenberry was tired of the shootouts, and wanted to do something different, something with a little more depth to it.

Still, Roddenberry knew what the executives, and the public, was used to.  As a result, the first draft of this new Star Trek idea was generalized as a sort of ‘Wagon Train to the Stars’, a formulaic type of show where every episode was a standalone adventure in the continuous exploration of the final frontier: space.

As Roddenberry wrote the draft, a few things changed.  Gone was Robert April, replaced by Captain Christopher Pike, who would be portrayed by Jefferey Hunter, and the rest of the crew.  The name of the ship changed too, to the more familiar Enterprise.  As these changes came about, so too did the true nature of Roddenberry’s dream show: both an adventure story, and a thought-provoking morality tale.

Armed with his script, Roddenberry brought Star Trek to Desilu Productions, (a rather large television production company headed and half-formed by Lucille Ball herself) and met with director of production Herbert F. Solow.  Solow saw promise in the concept, and signed a three-year development contract with Roddenberry.

Star Trek moved into the next stage of development.  Further drafts were drawn up and the idea that would later become the episode The Cage was revised, until it was shown to CBS as part of the ‘First Look’ deal with Desilu productions.  CBS wasn’t impressed with the show, declining to purchase it.  They had another ‘space show’ in development that seemed too similar, a show that would become Lost in Space.

However, another company became interested: NBC.  In May of 1964, Grant Tinker, the head of the West Coast programming department, commissioned the pilot that would become The Cage (which would later be reworked into the episode The Menagerie).  After it was completed, NBC turned it down, claiming that it was ‘too cerebral’, but although this was a mild defeat, Star Trek wasn’t beaten.  NBC still showed interest in the concept, and made the highly unusual decision to commission a second pilot: the episode that would become Where No Man Has Gone Before.

With this came quite a few changes.

Christopher Pike was scrapped as a character, as was the vast majority of other cast members.  Only the character of Spock, as portrayed by Leonard Nimoy, was kept, and of the other cast members, only Majel Barrett stayed, demoted from playing the second-in-command (scrapped due to the unthinkable notion of a woman Commander) to the ship’s nurse, Christine Chapel.  With this new pilot came an onslaught of new, more familiar names and faces: William Shatner as Captain Kirk, Chief Engineer Lieutenant Commander Scott played by James Doohan, and Lieutenant Sulu, (originally a physicist in the first episode, but a helmsman afterwards) played by George Takei.

This pilot passed with flying colors, and with that, NBC added Star Trek to their fall lineup for 1966.

Still, there were changes to be made.  In this first pilot, the ship’s doctor was Mark Piper, played by Paul Fix.  Dr. Leonard McCoy, played by DeForest Kelley, would join the cast when principal filming for the first season began.  Also joining the cast was Nichelle Nichols, playing Lieutenant Uhura, and Grace Lee Whitney as Yeoman Rand.  (Whitney would depart halfway through the first season, after being on the receiving end of sexual assault from one of the executives of the show, but would later appear in the film series beginning in the 1970s.)

Besides Where No Man Has Gone Before, NBC ordered 15 episodes to start off the show.  The first episode of Star Trek, The Man Trap, aired at 8:30 PM on Thursday, September 8th of 1966 as part of NBC’s ‘sneak preview’ time slot, received with mixed feelings.  While some papers and reviewers genuinely liked the new show, (such as The Philadelphia Inquirer and the San Francisco Chronicle) others, such as The Boston Globe and The New York Times didn’t.  Variety described the show as ‘an incredible and dreary mess of confusion and complexities’, and predicted that it would fail.

Fighting for position against reruns of previous shows, despite the critics’ warnings, Star Trek won a time slot, and began with decent ratings.  However, it didn’t last long.  By the end of the first season, Star Trek was sitting at 52nd out of 94 programs.

Star Trek was sinking, fast.

But even then, it wasn’t without its supporters.

The editor of Galaxy Science Fiction, Frederik Pohl, offered up his amazement that Star Trek’s consistency remained good, with no drop in quality after its Tricon winning early episodes.  He expressed his fear that the show would be cancelled due to its low ratings, and pleaded with audiences to help save Star Trek, writing letters to prevent its cancellation.

At this time, the only thing that was keeping the show on the air in the first place was the demographics it was reaching.  NBC had become interested in the demographics of the shows it was producing in the early 1960s, and by 1967, was using that as part of the decision making as to which shows got dropped.  

And something about Star Trek’s demographics interested NBC very much: it had managed to attract ‘quality’ audiences: high income, high educated people (primarily males).

As a result, NBC ordered ten more episodes for the first season, and ordered a second in March of 1967.  The network then changed Star Trek’s timeslot, moving it to 8:30 on Friday nights, a timeslot that seemed doomed for failure among the audience that Star Trek had gathered.

The next season, things didn’t seem to be getting any better.  It was at this point that the show added on Walter Koenig as Ensign Chekov (as George Takei was working on The Green Berets and was not as available for shooting), although some might have wondered why they would have bothered.  The show’s ratings were still dropping.  William Shatner, expecting the show to be cancelled, began to prepare for other projects.  

Again, the demographics saved the day.

Roddenberry’s initial concept of adventure alongside morality tales intrigued the audiences Star Trek had attracted.  The show had values, values that had to be applied to every situation.  The show was sincere, and serious in its exploration of issues like racism, war and peace, human rights, technology, class warfare, and imperialism, far different in tone and content than the other chief sci-fi show at the time: Lost in Space.  As a result, the show generated a more interested fanbase, perhaps the first true ‘fanbase’ of any franchise in history.  In the end, it was they who saved Star Trek.

By the end of the first season, NBC had received well over 29,000 fan letters.  During the second season, Roddenberry began a campaign to persuade fans to write in to NBC, to support the show and save the program.  Between December of 1967 and March of 1968, NCB had received nearly 116,000 letters from people who did not want to see Star Trek cancelled.  Science fiction conventions, magazines, and newspaper columnists encouraged readers to save what was called ‘the best science-fiction show on the air’.

The fans didn’t stop with letters.  Over 200 students of the California Institute of Technology marched to NBC’s studio in Burbank to protest the cancellation of Star Trek in January of 1968, carrying signs that said things like ‘Vulcan Power’.  They weren’t alone; other groups of students of MIT and Berkeley did the same thing in New York City and San Francisco.

Interestingly, the letters that NBC received were not of the typical ‘fan mail’ quality.

“Much of the mail came from doctors, scientists, teachers, and other professional people, and was for the most part literate–and written on good stationery. And if there is anything a network wants almost as much as a high Nielsen ratings, it is the prestige of a show that appeals to the upper middle class and high-brow audiences.” (Lowry, Cynthia (January 17, 1968). “One Network Goes ‘Unconventional’”. Nashua Telegraph. Associated Press. p. 13)

“The show, according to the 6,000 letters it draws a week (more than any other in television), is watched by scientists, museum curators, psychiatrists, doctors, university professors, and other highbrows. The Smithsonian Institution asked for a print of the show for its archives, the only show so honored.” (Scott, Vernon (February 7, 1968). “Letters Can Save 'Star Trek’”. The Press-Courier. Oxnard, California. United Press International. p. 17.)

After the episode The Omega Glory, on March 1st, 1968, the announcement came:

“And now an announcement of interest to all viewers of Star Trek. We are pleased to tell you that Star Trek will continue to be seen on NBC Television. We know you will be looking forward to seeing the weekly adventure in space on Star Trek.” (“Letters For 'Star Trek’ Hit 114,667”. The Modesto Bee. April 14, 1968. p. 26.)

If this was intended to stop the letter writing campaign, it was a dismal failure.  A comparable number of letters came in to NBC following this announcement, full of thanks for renewing the show for the third season.

In March of 1968, NBC moved Star Trek to another time slot: 10:00 PM on Fridays, an even worse shot than before.  To make matters worse, it was only being seen by 181 out of 210 of NBC’s affiliates.  Roddenberry fought the network to move it to a better time, but he was denied.  Exhausted, Roddenberry quit working on production of Star Trek, remaining executive producer in name only.  The running of the show went to Fred Freiberger, who was with the show as it stood on its last, shaky, legs.

And it was on its last legs.

Star Trek season three was a dying breath, the death-rattle of a show that was being intentionally destroyed by its own network.

To quote Nichelle Nichols:

“While NBC paid lip service to expanding Star Trek’s audience, it [now] slashed our production budget until it was actually 10% lower than it had been in our first season … This is why in the third season you saw fewer outdoor location shots, for example. Top writers, top guest stars, top anything you needed was harder to come by. Thus, Star Trek’s demise became a self-fulfilling prophecy. And I can assure you, that is exactly as it was meant to be.”

It showed.

While I hesitate to call season three of Star Trek a mess, it is difficult to deny that the show was definitely struggling.  Episodes dropped in quality, characters became more exaggerated and less ‘true’. Star Trek stopped filming in January of 1969, and after a total run of 79 episodes, the show  was cancelled.

As a newspaper columnist advised:

“You Star Trek fans have fought the “good fight,” but the show has been cancelled and there’s nothing to be done now.”

Rather incongruous with the image of the pop-culture giant we know it as today, wouldn’t you think?

So what happened?

As it turns out, Star Trek had enough episodes (thanks to the third season) to enter syndication.  Desilu Productions, which at that point had become Paramount, licensed the syndication rights in order to turn a profit, and reruns of Star Trek began airing in late 1969.

In syndication, Star Trek became a cult classic, finding a larger audience on reruns than it had during its original run.  The show, which was airing in the afternoons and early evenings, was attracting a young demographic, and, ironically, Star Trek became known as ‘the show that wouldn’t die’.  By 1970, Star Trek was boosting Paramount’s ratings, and becoming extremely popular.  In January of 1972, over 3,000 fans attended the first Star Trek convention in New York City, kicking off a previously unheard-of trend of organized fan gatherings where they could buy merchandise, meet cast and crew, and screen episodes of the show.  These people, coming to be known as ‘trekkies’, took pride in their knowledge and extreme love for this series, which was becoming renowned for being a smart, heartfelt science fiction show that had been cancelled too early.

17 years after Star Trek was cancelled and started reruns, Star Trek became the most popular syndicated show of all time.  By 1987, Paramount was bringing in $1 million per episode, and by 1994, reruns were still airing in over 90% of the United States of America.

The rest is history.

It has been over fifty years since Gene Roddenberry’s vision of a wagon train to the stars first took flight, and it was a hard battle fought to get as far as it did.  Never before had a show garnered the support and devoted love from a fanbase, never had it inspired such huge leaps and bounds in television and fandom alike.  Never had a television show meant so much to so many, and continued to do so well past its end.

For a show that struggled through a third season, it seems incredible that Star Trek still holds the weight that it does today.  The show that wouldn’t die gained new life beyond the grave, still capturing people’s attention decades after it was cancelled, growing to become one of the best known and best loved television shows ever made.

Against all odds, Star Trek lives on, remaining one of the greatest television shows of all time, for very good reason.

Join me for one last article as next time we take one last look at Star Trek in our Final Thoughts.  If you have any thoughts, questions, suggestions, recommendations, or just want to say hi, don’t forget to leave an ask!  Thank you all so much for reading, and I hope to see you in the next article.