#OCTOBER 25 2022 PREMIERE

[bl-bam-beyond]

BL- BOYS' LOVE:

Series: CHOCO MILK SHAKE

First let me say if I had a dog & a cat as a kid and they came back like this...

Meet Milk (KIM SEONG HYUK) & Choco (LEE BAE JIN) the former pets of Jung Woo (GO HO JUNG)

Props to LEE JAE BIN for nailing his role as dog.

Anyway Jung Woo gets mounted by his dog Choco as his cat Milk sidles up.

Jung Woo is totally shocked as Choco gives new meaning to bear hug.

Welcome home Milk and Choco. As Choco gets an up close and personal look as his masters kibble and bits (sorry I had to)

[demifiendrsa]

Episode posters for Guillermo del Toro’s Cabinet of Curiosities

Guillermo del Toro’s Cabinet of Curiosities will premiere on Netflix on October 25, 2022 with two episodes daily until October 28, 2022.

[eddie-redmayne-italian-blog]

The Untold History of Cabaret: Revived and Kicking

As Broadway welcomes the ever-evolving musical, its star, Eddie Redmayne—along with Liza Minnelli, Joel Grey, and Sam Mendes—assess its enduring power.

As director Rebecca Frecknall was rehearsing a new cast for her hit London revival of Cabaret, the actor playing Clifford Bradshaw, an American writer living in Berlin during the final days of the Weimar Republic, came onstage carrying that day’s newspaper as a prop. It happened to be Metro, the free London tabloid commuters read on their way to work. The date was February 25, 2022. When the actor said his line—“We’ve got to leave Berlin—as soon as possible. Tomorrow!”—Frecknall was caught short. She noticed the paper’s headline: “Russia Invades Ukraine.”

Cabaret, the groundbreaking 1966 Broadway musical that tackles fascism, antisemitism, abortion, World War II, and the events leading up to the Holocaust, had certainly captured the times once again.

Back in rehearsals four months later, Frecknall and the cast got word that the Supreme Court had overturned Roe v. Wade. Every time she checks up on Cabaret, “it feels like something else has happened in the world,” she told me over coffee in London in September.

A month later, as Frecknall was preparing her production of Cabaret for its Broadway premiere, something else did happen: On October 7, Hamas terrorists infiltrated Israel, killing at least 1,200 people and taking more than 240 hostages.

The revival of Cabaret—starring Eddie Redmayne as the creepy yet seductive Emcee; Gayle Rankin as the gin-swilling nightclub singer Sally Bowles; and Bebe Neuwirth as Fraulein Schneider, a landlady struggling to scrape by—opens April 21 at Manhattan’s August Wilson Theatre. It will do so in the shadow of a pogrom not seen since the Einsatzgruppen slaughtered thousands of Jews in Eastern Europe and in the shadow of a war between Israel and Hamas that continues into its fifth month, with the killing of thousands of civilians in Gaza.

Nearly 60 years after its debut, Cabaret still stings. That is its brilliance. And its tragedy.

Redmayne has been haunted by Cabaret ever since he played the Emcee in prep school. “I was staggered by the character,” he says. “The lack of definition of it, the enigma of it.” He played the part again during his first year at Cambridge at the Edinburgh Fringe Festival, where nearly 3,500 shoestring productions jostle for attention each summer. Cabaret, performed in a tiny venue that “stank,” Redmayne recalls, did well enough that the producers added an extra show. He was leering at the Kit Kat Club girls from 8 p.m. till 10 p.m. and then from 11 p.m. till two in the morning. “You’d wake up at midday. You barely see sunshine. I just became this gaunt, skeletal figure.” His parents came to see him and said, “You need vitamin D!”

In 2021, Redmayne, by then an Oscar winner for The Theory of Everything and a Tony winner for Red, was playing the Emcee again, this time in Frecknall’s West End production. His dressing room on opening night was full of flowers. There was one bouquet with a card he did not have a chance to open until intermission. It was from Joel Grey, who originated the role on Broadway and won an Oscar for his performance alongside Liza Minnelli in the 1972 movie. He welcomed the young actor “to the family,” Redmayne says. “It was an extraordinary moment for me.”

Cabaret is based on Goodbye to Berlin, the British writer Christopher Isherwood’s collection of stories and character studies set in Weimar Germany as the Nazis are clawing their way to power. Isherwood, who went to Berlin for one reason—“boys,” he wrote in his memoir Christopher and His Kind—lived in a dingy boarding house amid an array of sleazy lodgers who inspired his characters. But aside from a fleeting mention of a host at a seedy nightclub, there is no emcee in his vignettes. Nor is there an emcee in I Am a Camera, John Van Druten’s hit 1951 Broadway play adapted from Isherwood’s story “Sally Bowles” from Goodbye to Berlin.

The character, one of the most famous in Broadway history, was created by Harold Prince​​, who produced and directed the original Cabaret. “People write about Cabaret all the time,” says John Kander, who composed the show’s music and is, at 96, the last living member of that creative team. “They write about Liza. They write about Joel, and sometimes about us [Kander and lyricist Fred Ebb]. None of that really matters. It’s all Hal. Everything about this piece, even the variations that happen in different versions of it, is all because of Hal.”

In 1964, Prince produced his biggest hit: Fiddler on the Roof. In the final scene, Tevye and his family, having survived a pogrom, leave for America. There is sadness but also hope. And what of the Jews who did not leave? Cabaret would provide the tragic answer.

But Prince was after something else. Without hitting the audience over the head, he wanted to create a musical that echoed what was happening in America: young men being sent to their deaths in Vietnam; racists such as Alabama politician “Bull” Connor siccing attack dogs on civil rights marchers. In rehearsals, Prince put up Will Counts’s iconic photograph of a white student screaming at a Black student during the Little Rock crisis of 1957. “That’s our show,” he told the cast.

A bold idea he had early on was to juxtapose the lives of Isherwood’s lodgers with one of the tawdry nightclubs Isherwood had frequented. In 1951, while stationed as a soldier in Stuttgart, Germany, Prince himself had hung around such a place. Presiding over the third-rate acts was a master of ceremonies in white makeup and of indeterminate sexuality. He “unnerved me,” Prince once told me. “But I never forgot him.”

Kander had seen the same kind of character at the opening of a Marlene Dietrich concert in Europe. “An overpainted little man waddled out and said, ‘Willkommen, bienvenue, welcome,’ ” Kander recalls.

The first song Kander and Ebb wrote for the show was called “Willkommen.” They wrote 60 more songs. “Some of them were outrageous,” Kander says. “We wrote some antisemitic songs”—of which there were many in Weimar cabarets—“ ‘Good neighbor Cohen, loaned you a loan.’ We didn’t get very far with that one.”

They did write one song about antisemitism: “If You Could See Her (The Gorilla Song),” in which the Emcee dances with his lover, a gorilla in a pink tutu. At the end of the number, he turns to the audience and whispers: “If you could see her through my eyes, she wouldn’t look Jewishhh at all.” It was, they thought, the most powerful song in the score.

The working title of their musical was Welcome to Berlin. But then a woman who sold blocks of tickets to theater parties told Prince that her Jewish clients would not buy a show with “Berlin” in the title. Strolling along the beach one day, Joe Masteroff, who was writing the musical’s book, thought of two recent hits, Carnival and Camelot. Both started with a C and had three syllables. Why not call the show Cabaret?

To play the Emcee, Prince tapped his friend Joel Grey. A nightclub headliner, Grey could not break into Broadway. “The theater was very high-minded,” he once said. When Prince called him, he was playing a pirate in a third-rate musical in New York’s Jones Beach. “Hal knew I was dying,” Grey recounts over lunch in the West Village, where he lives. “I wanted to quit the business.”

At first, he struggled to create the Emcee, who did not interact with the other characters. He had numbers but “no words, no lines, no role,” Grey wrote in his memoir, Master of Ceremonies. A polished performer, he had no trouble with the songs, the dances, the antics. “But something was missing,” he says. Then he remembered a cheap comedian he’d once seen in St. Louis. The comic had told lecherous jokes, gay jokes, sexist jokes—anything to get a laugh. One day in rehearsal, Grey did everything the comedian had done “to get the audience crazy. I was all over the girls, squeezing their breasts, touching their bottoms. They were furious. I was horrible. When it was over I thought, This is the end of my career.” He disappeared backstage and cried. “And then from out of the darkness came Mr. Prince,” Grey says. “He put his hand on my shoulder and said, ‘Joely, that’s it.’ ”

Cabaret played its first performance at the Shubert Theatre in Boston in the fall of 1966. Grey stopped the show with the opening number, “Willkommen.” “The audience wouldn’t stop applauding,” Grey recalls. “I turned to the stage manager and said, ‘Should I get changed for the next scene?’ ”

The musical ran long—it was in three acts—but it got a prolonged standing ovation. As the curtain came down, Richard Seff, an agent who represented Kander and Ebb, ran into Ebb in the aisle. “It’s wonderful,” Seff said. “You’ll fix the obvious flaws.” In the middle of the night, Seff’s phone rang. It was Ebb. “You hated it!” the songwriter screamed. “You are of no help at all!”

Ebb was reeling because he’d learned Prince was going to cut the show down to two acts. Ebb collapsed in his hotel bed, Kander holding one hand, Grey the other. “You’re not dying, Fred,” Kander told him. “Hal has not wrecked our show.”

Cabaret came roaring into New York, fueled by tremendous word of mouth. But there was a problem. Some Jewish groups were furious about “If You Could See Her.” How could you equate a gorilla with a Jew? they wanted to know, missing the point entirely. They threatened to boycott the show. Prince, his eye on ticket sales, told Ebb to change the line “She wouldn’t look Jewish at all” to something less offensive: “She isn’t a meeskite at all,” using the Yiddish word for a homely person.

It is difficult to imagine the impact Cabaret had on audiences in 1966. World War II had ended only 21 years before. Many New York theatergoers had fled Europe or fought the Nazis. There were Holocaust survivors in the audience; there were people whose relatives had died in the gas chambers. Grey knew the show’s power. Some nights, dancing with the gorilla, he’d whisper “Jewish” instead of “meeskite.” The audience gasped.

Cabaret won eight Tony Awards in 1967, catapulted Grey to Broadway stardom, and ran for three years. Seff sold the movie rights for $1.5 million, a record at the time. Prince, about to begin rehearsals for Stephen Sondheim’s Company, was unavailable to direct the movie, scheduled for a 1972 release. So the producers hired the director and choreographer Bob Fosse, who needed the job because his previous movie, Sweet Charity, had been a bust.

Fosse, who saw Prince as a rival, stamped out much of what Prince had done, including Joel Grey. He wanted Ruth Gordon to play the Emcee. But Grey was a sensation, and the studio wanted him. “It’s either me or Joel,” Fosse said. When the studio opted for Grey, Fosse backed down. But he resented Grey, and relations between them were icy.

A 26-year-old Liza Minnelli, on the way to stardom herself, was cast as Sally Bowles. The handsome Michael York would play the Cliff character, whose name in the movie was changed to Brian Roberts. And supermodel Marisa Berenson (who at the time seemed to be on the cover of Vogue every other month) got the role of a Jewish department store heiress, a character Fosse took from Isherwood’s short story “The Landauers.”

Cabaret was shot on location in Munich and Berlin. “The atmosphere was extremely heavy,” Berenson recalls. “There was the whole Nazi period, and I felt very much the Berlin Wall, that darkness, that fear, all that repression.” She adored Fosse, but he kept her off balance (she was playing a young woman traumatized by what was happening around her) by whispering “obscene things in my ear. He was shaking me up.”

Minnelli, costumed by Halston for the film, found Fosse “brilliant” and “incredibly intense,” she tells Vanity Fair in a rare interview. “He used every part of me, including my scoliosis. One of my great lessons in working with Fosse was never to think that whatever he was asking couldn’t be done. If he said do it, you had to figure out how to do it. You didn’t think about how much it hurt. You just made it happen.”

Back in New York, Fosse arranged a private screening of Cabaret for Kander and Ebb. When it was over, they said nothing. “We really hated it,” Kander admits. Then they went to the opening at the Ziegfeld Theatre in New York. The audience loved it. “We realized it was a masterpiece,” Kander says, laughing. “It just wasn’t our show.”

“PAPA WAS EVEN MORE EXCITED ABOUT THE OSCAR THAN I WAS,” SAYS LIZA MINNELLI. “AND, BABY, I WAS—NO, I AM STILL—EXCITED.”

The success of the movie—with its eight Academy Awards—soon overshadowed the musical. When people thought of Cabaret, they thought of finger snaps and bowler hats. They thought of Fosse and, of course, Minnelli, who would adopt the lyric “Life is a cabaret” as her signature. Her best-actress Oscar became part of a dynasty: Her mother, Judy Garland, and father, director Vincente Minnelli, each had one of their own. “Papa was even more excited about the Oscar than I was,” she says. “And, baby, I was—no, I am still—excited.”

By 1987—in part to burnish Cabaret’s theatrical legacy—Prince decided to recreate his original production on Broadway, with Grey once again serving as the Emcee. But it had the odor of mothballs. The New York Times drama critic Frank Rich wrote that it was not, as Sally Bowles sings, “perfectly marvelous,” but “it does approach the perfectly mediocre.” Much of the show, he added, was “old-fashioned and plodding.”

In the early 1990s, Sam Mendes, then a young director running a pocket-size theater in London called the Donmar Warehouse, heard the novelist Martin Amis give a talk. Amis was writing Time’s Arrow, about a German doctor who works in a concentration camp. “I’ve already written about the Nazis and people say to me, ‘Why are you doing it again?’ ” Amis said. “And I say, what else is there?”

At the end of the day,” Mendes tells me, “the biggest question of the 20th century is, ‘How could this have happened?’ ” Mendes decided to stage Cabaret at the Donmar in 1993. Another horror was unfolding at the time: Serb paramilitaries were slaughtering Bosnian Muslims, “ethnic cleansing” on an unimaginable scale.

Mendes hit on a terrific concept for his production: He transformed his theater into a nightclub. The audience sat at little tables with red lamps. And the performers were truly seedy. He told the actors playing the Kit Kat Club girls not to shave their armpits or their legs. “Unshaved armpits—it sent shock waves around the theater,” he recalls. Since there was no room—or money—for an orchestra, the actors played the instruments. Some of them could hit the right notes.

To play the Emcee, Mendes cast Alan Cumming, a young Scottish actor whose comedy act Mendes had enjoyed. “Can you sing?” Mendes asked him. “Yeah,” Cumming said. Mendes threw ideas at him and “he was open to everything.” Just before the first preview, Mendes suggested he come out during the intermission and chat up the audience, maybe dance with a woman. Mendes, frantic before the preview, never got around to giving Cumming any more direction than that. No matter. Cumming sauntered onstage as people were settling back at their tables, picked a man out of the crowd, and started dancing with him. “Watch your hands,” he said. “I lead.”

Cumming’s Emcee was impish, fun, gleefully licentious. The audience loved him. “I have never had less to do with a great performance in one of my shows than I had to do with Alan,” Mendes says.

When Joe Masteroff came to see the show in London, Mendes was nervous. He’d taken plenty of liberties with the script. Cliff, the narrator, was now openly gay. (One night, when Cliff kissed a male lover, a man in the audience shouted, “Rubbish!”) And he made the Emcee a victim of the Nazis. In the final scene, Cumming, in a concentration camp uniform affixed with a yellow Star of David and a pink triangle, is jolted, as if he’s thrown himself onto the electrified fence at Birkenau.

“I should be really pissed with you,” Masteroff told Mendes after the show. “But it works.” Kander liked it too, though he was not happy that the actors didn’t play his score all that well. Ebb hated it. “He wanted more professionalism,” Mendes says. “And he was not wrong. There was a dangerous edge of amateurishness about it.”

The Roundabout Theatre Company brought Cabaret to New York in 1998. Rob Marshall, who would go on to direct the movie Chicago, helped Mendes give the show some Broadway gloss while retaining its grittiness. The two young directors were “challenging each other, pushing each other,” Marshall remembers, “to create something unique.”

Cumming reprised his role as the Emcee. He was on fire. Natasha Richardson, the daughter of Vanessa Redgrave and director Tony Richardson, played Sally Bowles. She was not on fire. She’d never been in a musical before, and when she sang, “There was absolutely no sound coming out,” Kander says.

“She beat herself up about her singing all the time,” Mendes adds. “There was a deep, self-critical aspect of Tash that was instilled by her dad, a brilliant man but extremely cutting.” He once said to her out of nowhere: “We’re going to have to do something about your chin, dear.” As Mendes saw it, she always felt that she could never measure up to her parents.

Kander went to work with her, and slowly a voice emerged. It was not a “polished sound,” Marshall says, but it was haunting, vulnerable. Still, Cumming was walking away with the show. At the first preview, when he took his bow, the audience roared. When Richardson took hers, they were polite. Mendes remembers going backstage and finding her “in tears.” But she persevered and through sheer force of will created a Sally Bowles that “will break your heart,” Masteroff told me the day before I saw that production in the spring of 1998. She did indeed. (Eleven years later, while learning how to ski on a bunny hill on Mont Tremblant, she fell down. She died of a head injury two days later.)

The revival of Cabaret won four Tony Awards, including one for Richardson as best actress in a musical. It ran nearly 2,400 performances at the Roundabout’s Studio 54 and was revived again in 2014. And the money, money, money, as the song goes, poured in. Once Masteroff, having already filed his taxes at the end of a lucrative Cabaret year, went to the mailbox and opened a royalty check for $60,000. “What the hell am I supposed to do with this?” he snapped.

Rebecca Frecknall grew up on Mendes’s Donmar Warehouse production of Cabaret. The BBC filmed it, and when it aired, her father videotaped it. She watched it “religiously.” But when she came to direct her production, she had to put Mendes’s version out of her mind.

Mendes turned his little theater into a nightclub. Frecknall, working with the brilliant set and costume designer Tom Scutt, has upped the game. They have transformed the entire theater into a Weimar cabaret. You stand in line at the stage door, waiting, you hope, to be let in. Once inside, you’re served drinks while the Kit Kat Club girls dance and flirt with you. The show’s logo is a geometric eye. Scutt sprinkles the motif throughout his sets and costumes. “It’s all part of the voyeurism,” Scutt explains. “The sense of always being watched, always watching—responsibility, culpability, implication, blame.”

REDMAYNE’S EMCEE IS STILL SEXY AND SEDUCTIVE, BUT AS THE SHOW GOES ON HE BECOMES A PUPPET MASTER MANIPULATING THE OTHER CHARACTERS, SOMETIMES TO THEIR DOOM.

Mendes’s Cabaret, like Fosse’s, had a black-and-white aesthetic—black fishnet stockings, black leather coats, a white face for the Emcee. Frecknall and Scutt begin their show with bright colors, which slowly fade to gray as the walls close in on the characters. “Color and individuality—to grayness and homogeneity,” Frecknall says.

As the first woman to direct a major production of Cabaret, Frecknall has focused attention on the Kit Kat Club girls—Rosie, Fritzie, Frenchie, Lulu, and Texas. “Often what I’ve seen in other productions is this homogenized group of pretty, white, skinny girls in their underwear,” she insists. Her Kit Kat Club girls are multiethnic. Some are transgender. Through performances and costumes, they are no longer appendages of the Emcee but vivid characters in their own right.

Her boldest stroke has been to reinvent the Emcee. She and Redmayne have turned him into a force of malevolence. He is still sexy and seductive, but as the show goes on, he becomes a skeletal puppet master manipulating the other characters to, in many cases, their doom. If Cumming’s Emcee was, in the end, a Holocaust victim, Redmayne’s is, in Frecknall’s words, “a perpetrator.”

Unwrapping a grilled cheese sandwich in his enormous Upper West Side townhouse, Kander says that his husband had recently asked him a pointed question: “Did it ever occur to you that all of you guys who created Cabaret were Jewish?”

“Not really,” Kander replied. “We were just trying to put on a show.” Or, as Masteroff once said: “It was a job.”

It’s a “job” that has endured. The producers of the Broadway revival certainly have faith in the show’s staying power. They’ve spent $25 million on the production, a big chunk of it going to reconfigure the August Wilson Theatre into the Kit Kat Club. Audience members will enter through an alleyway, be given a glass of schnapps, and can then enjoy a preshow drink at a variety of lounges designed by Scutt: The Pineapple Room, Red Bar, Green Bar, and Vault Bar. The show will be performed in the round, tables and chairs ringing the stage. And they’ll be able to enjoy a bottle (or two) of top-flight Champagne throughout the performance.

This revival is certainly the most lavish Cabaret in a long time. But there have been hundreds of other, less heralded productions over the years, with more on the way. A few months before Russia invaded Ukraine, Cabaret was running in Moscow. Last December, Concord Theatricals, which licenses the show, authorized a production at the Molodyy Theatre in Kyiv. And a request is in for a production in Israel, the first since the show was produced in Tel Aviv in 2014.

“The interesting thing about the piece is that it seems to change with the times,” Kander says. “Nothing about it seems to be written in stone except its narrative and its implications.”

And whenever someone tells him the show is more relevant than ever, Kander shakes his head and says, “I know. And isn’t that awful?”′

You can also listen the entire article here !!

https://www.vanityfair.com/style/cabaret-revival

I know it's a very long article , but very interesting!!

[ishipmutualrespect]

The Peace Ring Timeline

I decided to create a timeline post for The Peace ring to keep track on when Harry wears it publicly. I’ll start with 2022 to make it simpler.

2022:

May 19 (Today Show in New York)

September 7 (Love on Tour, New York)

September 8 (Love on Tour, New York)

September 10 (Love on Tour, New York)

September 11 (MP Premiere, Toronto)

September 14 (Love on Tour, New York)

September 15 (Love on Tour, New York)

September 21 (Love on Tour, New York)

September 25 (Love on Tour, Austin)

September 26 (Love on Tour, Austin)

September 28 (Love on Tour, Austin)

September 29 (Love on Tour, Austin)

October 2 (Love on Tour, Austin)

October 3 (Love on Tour, Austin)

October 8 (Love on Tour, Chicago)

October 9 (Love on Tour, Chicago)

October 10 (Love on Tour, Chicago)

2023:

July 24 (appearance in Harry’s reel for LOT Goodbye)

[lightspeed777]

Based on how the announcements and release timings have been for TLOVM with how in November of 2019, Amazon Studios announced that they had acquired the streaming rights to The Legend of Vox Machina and that production for the first 2 seasons had begun/were ongoing at that point. Season 1 premiered in January of 2022 and season 2 premiered in January of 2023 with it being renewed for a third season in October of 2022.

Knowing that season 3 will conclude The Chroma Conclave Arc, it can be reasonably presumed that the show would need another season/season and a half in order to finish the Taryon Darrington and Vecna Arcs. I predict that season 3 will probably premier in January of 2024 with season 4 following in January of 2025 and maybe season 5 if needed in January of 2026.

With all that out of the way time to get onto the actual reason I made this post in response to the recent Mighty Nein animated series announcement. I predict that just based on the pattern of release for TLOVM and the fact that Mighty Nein takes place 20-25 years after the end of TLOVM, it would be weird for it to release alongside the remaining seasons of TLOVM. Considering all this and that fact that with Titmouse working on both TLOVM and Mighty Nein simultaneously or at least in similar time windows which will probably delay the release of both. I predict that we can expect season 1 of Mighty Nein to premier around 2026-2027.

[taekooktimeline]

November 5, 2023 -

Tae posts seven photos on IG, captioning the post “Since I can’t sleep 🤷” This was at 5am in Korea.

Two of the seven pictures were from Jungkook’s private listening party for his solo debut album “Golden.” Remember, Jimin initially posted the three film strips to his IG, and Joon and Tae reposted to their IG stories. I will forever adore that film strip of Taekook, and how all of the photos show their close bond, since they’re squished together, in each other’s personal spaces, which is such an intimate thing to do. The photos Tae shared -

Tae’s IG post - https://www.instagram.com/p/CzPOXa6S6PM/?igshid=MzRlODBiNWFlZA==

Golden listening party recap - https://www.tumblr.com/taekooktimeline/733264831711412224/november-4-2023-released

Jungkook departs for the U.S. hours later (approximately around 9:45am. Based on prior instances of Tae and Jk being together before one flies out for an overseas schedule, it could be speculated they were together and Tae stayed up to spend time with him. Of course, as this is speculative, please decide as you like.

https://youtu.be/nHNeLZk3E2U?si=Vf2kxHQqT807sYfm

And the reason it’s plausible that they were together is based on the below, which are some instances when it was confirmed they spent time together before one flew out, or after one got back from an overseas schedule.

October 23, 2022: Tae posted a photo of Jk to his IG stories, before Jk flew to Qatar for the World Cup promos

November 22, 2022: Jk lands back in Seoul. He and Tae film the “Run BTS” dance challenge in the early morning hours, at Incheon Paradise City Grand Deluxe Pool villa

April 8, 2023: Hobi and Tae are on live with Jk; hours later, Jk flies to LA

May 14, 2023 (Rose Day): Tae uploaded a series of photos to his IG, one being of him and Jk after the “Dream” premier. He also posted an IG story of the two of them walking with Wooga and friends after the event. Remember, “Dream” and the after events with Wooga and friends were April 24-25, 2023. Tae flew out to France the following day after uploading the series of photos

May 29, 2023: Tae shares on Weverse that he called Jk to cook makguksu “tomorrow” (He flies out for an overseas schedule in France on May 31

(CTTO for the collages)

October 23, 2022 recap: https://www.tumblr.com/taekooktimeline/718845941963210752/october-23-2022

November 22, 2022 recap: https://www.tumblr.com/taekooktimeline/702090487479320576/approximately-november-22-2022-filmed-november )

April 8, 2023 recap: https://www.tumblr.com/taekooktimeline/714807882986799104/april-8-2023

April 25, 2023 recap (please note this piece didn’t mention Tae flying to France, since I placed this piece when the event actually happened) - https://www.tumblr.com/taekooktimeline2023/717591991372890112/april-24-25-2023

May 29, 2023 recap of Tae wanting Jk’s makguksu: https://www.tumblr.com/taekooktimeline2023/718760936465399808

May 31, 2023 recap: https://www.tumblr.com/taekooktimeline2023/718847206276366336

[rafaelsilvasource]

Out100 Cover Stars Ronen Rubinstein & Rafael Silva Televise Queer Love

9-1-1: Lone Star's Ronen Rubinstein and Rafael Silva are setting network TV ablaze with their fiery queer romance.

BY RAFFY ERMAC | October 25, 2022

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Tarlos is here — and ready to take over.

Coined by fans of Fox’s hit procedural drama 9-1-1: Lone Star, the affectionate “ship” name is a portmanteau of the show’s queer main characters: firefighter-turned-paramedic Tyler Kennedy “T.K.” Strand and Carlos Reyes, an Austin police officer. The LGBTQ-inclusive series centers on the lives of emergency responders and also boasts names like Rob Lowe, Liv Tyler, and transgender actor Brian Michael Smith.

Watching Lone Star, which opens a fourth season in early 2023, it’s easy to see why fans love Tarlos. Their relationship — which began in the pilot episode in an Austin honky-tonk and evolved into a roller coaster of casual hookups, breaking up, moving in together, and eventually getting engaged — is a story LGBTQ+ fans could only dream about seeing on network television just a few years ago. Seeing these two characters — with their movie-star good looks and boys-next-door appeal — navigate life and love in relatable ways gives fans giddy feelings with every new episode (which is why discussions of Lone Star continually trend on Twitter during the television season).

Fortunately, out actors Ronen Rubinstein and Rafael Silva have the chemistry to bring these two Lone Star boys to life.

“I can’t imagine doing this with somebody that (a) you don’t like and (b) you don’t mesh well with on set,” Rubinstein says of Silva. Since they started this journey as Tarlos when Lone Star premiered in 2020, the two have grown close as both colleagues and friends. “I can’t imagine doing that with somebody that you don’t get along with and you don’t respect and you don’t love as a human being,” he adds. “I can honestly say that’s how I feel about Rafael.”

“Ro and I are just so fucking different as people…. But it’s this sort of yin and yang thing,” says Silva. “Two of the same pieces of the same puzzle are not going to go together, they’re just not. They have to be different in order to complement each other, and I think we do that very well as actors and as people.”

One of the first scenes the two shot together was a sex scene, and like with any intimacy on camera, that required a lot of trust — even if at the time, they had just recently met. But the two used their real-life newness with each other to their advantage, as it paralleled how T.K. and Carlos were also just getting to know each other, creating a realistic pairing that the stans simply can’t get enough of.

“At that point, when you have a bunch of people just watching you make out and do that, you have to rely on your partner,” Silva says. “It’s like we only got each other right now, so let’s just do whatever happens here, just go with the flow. Let’s just go.”

Tarlos, with all their confidence and chemistry, is one of television’s better examples of an LGBTQ+ couple just getting to live their messy but meaningful lives without extreme trauma keeping them apart. A couple like Tarlos was a portrayal Rubinstein and Silva didn’t see a lot of growing up, and that helped motivate them to portray T.K. and Carlos in a way never before seen by generations of queer TV watchers.

Silva, who was born in Brazil and spent the early part of his childhood there, says he was raised in a very male-dominated, machismo-drenched culture with a stigma surrounding gay people. It wasn’t until he was a young adult attending Pace University in New York City that he was exposed to queer culture, and he was able to “actively, fully be myself” as a gay man. And it wasn’t until he saw Viola Davis’s badass bisexual Annalise Keating on ABC’s acclaimed How to Get Away With Murder that he felt like he saw something of himself represented on television.

Like Silva, Rubinstein, who spent his childhood in the U.S. but was born in Israel after his family left the Soviet Union following its collapse, had a similar experience growing up in a culture that taught folks being gay or queer was verboten. “It just wasn’t a thing that was ever brought into my world,” Rubinstein says.

That is, until he caught the acting bug. Going into Manhattan for auditions and exploring the West Village introduced Rubinstein to people and cultures that he had never experienced before, and that’s when he started to realize he could truly be himself and like both men and women. (Rubinstein publicly came out as bisexual in April of 2021 while Lone Star’s second season was airing.)

“I remember going there, just wandering around, and I was like, ‘Oh, wow, this is amazing,’” he recalls. “I think that was probably the first time where I started looking at men differently. Especially growing up, [I don’t remember] anybody talking about being bisexual. That wasn’t even a term that I even knew existed. It was just gay or lesbian.”

Though they didn’t have much representation growing up, Silva and Rubinstein are elated by how many people are touched by Tarlos. “It’s really all over the world right now, it’s unbelievable,” Rubinstein reflects. “I’d be lying to you if I said, ‘Yeah, of course I knew it would be like this,’ or ‘Yeah, I expected it.’ First of all, just for this storyline to even be birthed, it is so risky. Especially for a network like Fox. If it wasn’t for [creators] Ryan Murphy and Tim Minear, it wouldn’t be possible, and it’s still shocking me to this day.”

What was also shocking for Silva and Rubinstein (in a good way) was getting to see just how much love fans were ready to give in real life, as the two got to meet Tarlos stans over the summer at the Dream It Not at Home convention in Paris.

“We met a lot of people saying, ‘I’ve been saving money to come here, I’ve been working overtime,’ so all I could hear was, ‘I’ve been putting in effort in order to see you,’” Silva says of the experience. “When you hear that, you feel the responsibility to also take them in.”

And they’re not taking any of that love and support lightly. With season 4 of Lone Star on the horizon, and with more Tarlos promised to viewers after a breathtaking proposal scene at the end of season 3, Silva and Rubinstein are more committed than ever to nailing their parts as authentically as possible. And they can’t wait for fans to see what season 4 has in store.

“I’ve definitely been shocked and surprised already within the first couple episodes. There’s definitely been some storylines where I’m like, ‘What?’” Rubinstein says. “It’s hard to predict what’s going to happen on the show, especially with us, so that’s been really cool. It keeps you on your toes, and when I get a script, I’m literally flipping through the pages as fast as I can because at any moment, there could be a bombshell — and we’re definitely going to have a couple this season.”

“Right off from episode 1, we’re going to find out some things that are funny, but it propels on to several beautiful episodes after the first one, and it’s going to be intense,” Silva says. “It’s going to be fun to watch and fun to do. Like what Ronen said, you can’t really expect much because things change a lot. Whatever you think is going to happen, Tim always brings something better than what your imagination can perceive. I think the fun part is just waiting to find out what actually happens.”

“The biggest thing is all paths lead to the wedding,” Rubinstein adds.

As the actors reflect on the future of their careers beyond Lone Star, both remain optimistic that LGBTQ+ representation is only going to improve, and they both want to work on projects that push boundaries and are more inclusive of historically marginalized identities. For Rubinstein, that means seeing more projects with bisexual male leads, and for Silva, that means adding Latinx representation to mainstream American media.

“I would love to do movies and work with some of my heroes, whether it’s Brad Pitt, Leonardo DiCaprio, Christian Bale. I’ve been putting that out since I’ve started this journey, so hopefully it happens,” Rubinstein says. “I think, selfishly, I would like to see more male characters who are bisexual, especially in leading roles. It’s strange that it’s not happening more often. Maybe it’s going to take me to produce something or be the one that does it, but I’d love to see more of that. I think there’s a lot of stories to be told, but especially in the LGBTQ+ community.”

“If I’m going to dream, I want to do things that challenge me, that make me scared, but where I can also have fun and also, I’m going to say selfishly, where I can achieve a certain level in my career where I won’t feel like I have to explain myself,” Silva says.

talent RAFAEL SILVA & RONEN RUBINSTEIN @actuallyrafa @ronenrubinstein photographer COYOTE PARK for GOOGLE PIXEL 7 coyotepark.format.com @coyotepark executive producer & senior director TIM SNOW @snowmgz creative director RAINE BASCOS 1st assistant MASON ROSE masonrose.photography @masonrose__ light tech EVADNE GONZALEZ @evadnegonzalez digitech MERLIN VIETHEN video AUSTIN NUNES austinunes.com @austinunes producer STEVIE WILLIAMS x2production.com @beingstevie of X2 Production set designer ORRIN WHALEN orrinwhalen.com @orrinwhalen art assistant BRANDON LOYD @ohmylord stylist EDWIN ORTEGA edwinortega.com @edwin.j.ortega styling assistant BROOKE MUNFORD @brookesquad hair/groomer ABRAHAM ESPARZA abrahamjesparza.com @thisisbabe manicurist RILEY MIRANDA @rileymiranda.nails

[foxes-that-run]

2021 Haylor Timeline

Timeline Tag, or years 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023 and 2024..

18 January - Coney Island released as a single.

14 February Olivia at Harry’s house with luggage. Don't worry Darling filming wraps. On the 21st Taylor Lover tour cancelled.

10 March Instead of congratulating Harry on the nomination Zayn posted “F the Grammys”

15 March -Talk at the Grammys, Taylor and Harry part of small group of attendees. Harry goes over to Taylor and they are polite, Harry seems a little awkward and says “well it was nice to see you”. He keeps looking at her during his acceptance speech for record of the year.

Taylor wrote High Infidelity and WCS with Aaron Dessner while in LA for the Grammy's, when she saw Harry & J Mayer.

Niall and Liam congratulate Harry on his Grammy win, Zayn and Louis do not.

31 March - architect of Harry’s Erskine House renovations posts photos of the interior to their website. It has a black, wood pale grey palette with pink stairs

April 27 - Joe leaves UK to Belfast to film.

May 11 - HS & TS both at Brit awards (the 26th was a blood moon)

May - Harry’s bassist since HS1, Adam Pendergast, leaves love band (date from his LinkedIn)

May 24 - Joe and Taylor together in Paris

21 June - Harry wrapped My Policeman in Italy, started in Feb. Released 1 September 2022. Holiday in Italy

2 July - renegade released

8 July - Harry and Olivia on yacht and in Italy

26 July - Charlotte Clarke (Harry’s backup singer) said she was let go and doesn’t understand why. won’t be on HSLOT

9 August - 26 August Harry in studio maybe mixing Harry's House in the behind scenes photos here you can see outfits he wore in LA on these dates.

4 September – 22 July 2023 - Love on Tour, Harry has a new bassist Elin Sandberg

7 September - Taylor in Belfast visiting Joe. Red TV entirely recorded at Kitty Committee Belfast UK (her home)

9 September - Taylor at Toronto Film Festival and to premiere all too well

11 September - Harry at Toronto Film Festival to premiere My policeman, talks about wasted time being the worst thing in presser

17 September - wildest dreams TV released, TikTok about recording Red TV and a glitch. Harry and Olivia in Phili with Xander, max and family

May 11 - HS & TS both at Brit awards (the 26th was a blood moon)

May - Harry’s bassist since HS1, Adam Pendergast, leaves love band (date from his LinkedIn)

May 24 - Joe and Taylor together in Paris

21 June - Harry wrapped My Policeman in Italy, started in Feb. Released 1 September 2022. Holiday in Italy

2 July - renegade released

8 July - Harry and Olivia on yacht and in Italy

26 July - Charlotte Clarke (Harry’s backup singer) said she was let go and doesn’t understand why. won’t be on HSLOT

9 August - 26 August Harry in studio maybe mixing Harry's House in the behind scenes photos here you can see outfits he wore in LA on these dates.

4 September – 22 July 2023 - Love on Tour, Harry has a new bassist Elin Sandberg

7 September - Taylor in Belfast visiting Joe. Red TV entirely recorded at Kitty Committee Belfast UK (her home)

9 September - Taylor at Toronto Film Festival and to premiere all too well

11 September - Harry at Toronto Film Festival to premiere My policeman, talks about wasted time being the worst thing in presser

17 September - wildest dreams TV released, TikTok about recording Red TV and a glitch. Harry and Olivia in Phili with Xander, max and family

22 September - first heart kiss since 2018! St Paul - Falling, with Two Ghosts intro (4:31). Then again weekly till the end of the year

25 September - Taylor London Lena's wedding.

29 September - & 1 Oct Harry played Nashville and wore a white satin outfit, he played with his rings while performing Beautiful. Harry plays To Be so Lonely for 9 shows then never again, including Nashville N2 and NY. In Nashville looks up.

22 October - one more photo of Taylor and joe in the bathroom leaked (the proper selfie), photos from 2016 leaked in 2020

26 October - Taylor posts TikTok "Autumn Lovers RISE" as a reenactment of a 27 September 2017 Tumblr post. She writes lyrics to ATW "just between us did the love affair maim you" "and Plaid stuff and ankle boots" she's wearing a skirt but says 'stuff' plaid shirts and ankle Chelsea boots is Harry in 2011-2013. And "Maroon/Hunter Green" The ATW move included a book coming out 13 years later about the love affair.

1 November - rumors Harry and OW fighting

12 November - Red TV released Harry wears red in his show on the 11th. All Too Well Short Film premiere Dylan O'Brien (who is in ATW film) is included in this footage of Austin and Dylan cheering when Jack plays Question..? in the Studio. Appears on Fallon and says she easter eggs 3 years in advance in reference to ATW.

16 November - Pleasing launch with Harry on bike photo on cover of Dazed

17 November – Taylor leaves NYC for Panama to go see Joe. Taylor posts a drunk TikTok from Panama. On the 20th she went to the national theater and leaves on the 22nd. Joe stays and films. Midnights written while gone

21 November - Last time Taylor is photographed in public for 3 months is the SNL performance for All too Well

25 November Rolling Stone noted the Haylor call and response “the long-running songwriting badminton between her and Harry Allegedly is pop call-and-response the way it ought to be”

28 November- 13 December Harry MIA. OW seen alone in LA

1 December Taylor wore Gucci lion ring to Zoe’s kravitz birthday throwback photo shared day after YLM date identified by Jack.

5 December - You're losing me written. Love on Tour in Buenos Aires

Continue to 2022

[notafraidofredyellowandblue]

Flake in new german movie "Olaf Jagger"

From rammwiki ig

"rammwiki The German comedian Olaf Schubert is releasing his new movie "Olaf Jagger," in which he makes a groundbreaking discovery, which leads him to think to be the son of Mick Jagger.

Flake also has a small role in the movie, which is already teased in the trailer.

The movie had its official premiere on 25 October 2022, at the Hofer Filmtage and will hit German cinemas on 6 April 2023.

A little fun fact: Olaf Schubert also played in a GDR rock band, called Dekadance. They appeared together with Feeling B on some compilations. Additionally, Rammstein opened for Dekadance on an unknown date in 1994."

[this-boys]

Phil Dunster attends the global premiere of "The Devil's Hour" at The Curzon Bloomsbury on October 25, 2022 in London, England.

[i-am-roadrunner]

Sarah Shahi attends the New York premiere of DC's Black Adam at AMC Empire 25 on October 12, 2022 [x]

[demifiendrsa]

Guillermo del Toro’s Cabinet of Curiosities | First Look

Guillermo del Toro’s Cabinet of Curiosities will premiere on Netflix on October 25, 2022 with two episodes daily until October 28, 2022.

Episodes:

"The Autopsy" directed by David Prior (The Empty Man)

"The Outside" directed by Ana Lily Amirpour (A Girl Walks Home Alone at Night)

"The Viewing" directed by Panos Cosmatos (Mandy)

"Dreams in the Witch House" directed by Catherine Hardwicke (Twilight)

"Lot 36" directed by Guillermo Navarro (Narcos)

"Pickman's Model" directed by Keith Thomas (Firestarter)

"Graveyeard Rats" directed by Vincenzo Natali (In the Tall Grass)

"The Mourning" directed by Jennifer Kent (The Babadook)

[bashfulgnome]

10 Years of Wrecking: A Month-Long Celebration!

Some of you may remember 5 Years of Wrecking - a celebration for Wreck-It Ralph's 5th Anniversary in 2017. Well believe it or not, this year is the 10th anniversary of WIR and we're bringing the celebration back around for another milestone!

Wreck-It Ralph turns 10 years old on 2 November 2022! So, we’re celebrating starting on the movie's premiere date at the El Capitan Theatre through the end of November: October 29, 2022 to December 2, 2022!

The focus for each week are as follows:

Week 1: 29 October to 4 November: Felix and Ralph Week + 10th Anniversary Day

Week 2: 5 November to 11 November: Ralph and Vanellope Week 

Week 3: 12 November to 18 November: Hero’s Cuties Week 

Week 4: 19 November to 25 November: Core Four Week

Week 5: 26 November to 2 December: Free Week

Last time for the 5th anniversary we also had day-by-day themes, but we decided not to this time just to take the pressure off. For those interested though, here are the themes from last time, now as prompts in case you're looking for inspiration on what to contribute:

Reflection Ten Years On

Favorite Scene and/or Quote

A Look Into The Future!

Favorite Attribute

Headcanons        

Fanworks

As @ashleybenlove said 5 years ago: Feel free to celebrate this awesome movie in whatever way you feel is best! Fanart, Fanworks, gifs, photosets, meta, personal thoughts, fanvids, something we haven't considered!

And keep in mind that the themes are only suggestions - we can't possibly cover every character/setting/concept in the movie with these themes, so go ahead and contribute for whatever WIR topics you'd like.

The tag is “10 Years of Wrecking” (without the quotation marks) and you are more than welcome to tag @ask-icancraft-it, @sgtcalhouns, or @bashfulgnome in the post so we see it! If you have any questions, feel free to contact @ask-icancraft-it @bashfulgnome.

Have fun, Wrecklings! Please spread this around and tag your friends!

Tagging some friends who weren't already mentioned: @fix-it-feesh @kittysfigurines24 @make-it-mavis @sadboy-tristan @datamining-your-heart @scarfboyxiv @coneygoil

[weidol-ent]

WEIDOL ENTERTAINMENT RELEASES CAST FOR NEW SURVIVAL SHOW " IDOLMAKER: COMET FACTORY; " PILOT PREMIERES NOVEMBER 7TH

After a year of suspense, WEIDOL Entertainment has not only released the name of their new trainee survival show, but also its cast and premiere date. On October 11th, WEIDOL Entertainment announced the name of the show to be IDOLMAKER: COMET FACTORY, and revealed the eighteen trainees who will be competing to debut as a group of seven.

Three years after the commercial success of their first survival show, WEIDOL GIRLS PROJECT, the shocking growth of WEIDOL Entertainment has founder and CEO Kim Chul-sung plotting out the next steps for the company. With the influx of new trainees, each of them eager to debut, the best of the best will have the chance to prove themselves - in every aspect.

" While each of them have incredible talents, " states Kim Chul-sung, " the intention [of COMET FACTORY] is similar to that of WEIDOL GIRLS PROJECT, in that it's meant to test trainees on all aspects of an idol's performance: dance, vocals, rapping, charisma, and more. We don't expect perfection, but we expect the ability to learn. To represent WEIDOL is not to be perfect, but to understand how every piece of the puzzle comes together. "

Many speculate that the biggest change between WEIDOL GIRLS PROJECT and COMET FACTORY will be the judging system - where the former heavily relied on public voting, COMET FACTORY will be using audience votes sparingly, focusing more on judges' critiques and progress reports. While many netizens say that ditching the public vote prevents voting fraud and allows for more meaningful critiques, others claim it could lead to a higher amount of producer bias. Discussions have also turned to the legitimacy of voting during WEIDOL GIRLS PROJECT, which WEIDOL Entertainment has not commented on.

IDOLMAKER: COMET FACTORY is set to premiere on November 7th, 2022, and contestant biographies will be revealed over the coming days. Will you be tuning in?

COMMENTS.

[ +90 / -3 ] sooooo exciting!!!! can't wait to see what the dolls have in store

[ +37 / -12 ] are they always just going to go for east asian trainees?? where are my SEA girls :(

ㅤㅤ⤷ [ +14 / -25 ] it's not that deep bestie calm down

ㅤㅤ⤷ [ +178 / -2 ] they have a couple of southeast asian trainees set to debut actually!!

ㅤㅤㅤㅤㅤㅤ⤷ [ +84 / -31 ] SOURCE???!!!?!!?!

[ +206 / -61 ] this seems like it's going to be good! taking out the audience voting was a great decision on wdl's part, i can only imagine the relief the girls are feeling

[ +82 / -7 ] sadako and younghee my beloveddddd <3 all of them are so cute, a show full of visuals

[ +89 / -17 ] have you guys seen charlie's tiktoks?! she's hilarious, i can't wait to see her on the show!!!!

[ +20 / -102 ] weidol needs to focus more on their other groups first :/ like ok. new girl group. where's the harpy club full album we were promised a year ago??

ㅤㅤ⤷ [ +209 / -1 ] this ain't about them!!! just focus on supporting our girls <3

HOW DOES THIS ARTICLE MAKE YOU FEEL?

[magxit]

Taylor and Joe schedules  Joe is bold and Taylor in bullet points

JANUARY 2020

January 5 ~ 77th Annual Golden Globe Awards in Los Angeles

January 7 ~ Tom Ford Beauty ‘Beau de Jour’ Fragrance Launch in London

FEBRUARY 2020

February 2 ~ 73rd British Academy Film Awards in London

February 7 ~ Tom Ford AW20 Show in Los Angeles

SEPTEMBER 2020

September 18 to 26 ~ San Sebastian International Film Festival in San Sebastian, Spain

DECEMBER 2021

63rd Annual GRAMMY Awards, March 14, 2021

Global Icon during The BRIT Awards, May 11, 2021

36th Annual Rock & Roll Hall Of Fame Induction Ceremony, October 30, 2021

“All Too Well: The Short Film” premiere, November 12, 2021

“All Too Well (10 minute version)” SNL, November 12, 2021

December 4 ~ Festival Internacional de Cine de Panamá

Dec 13th Taylor had a bday party. 

MAY 2022

May 5: Conversations with Friends press, screening and Q&A in London, England

May 7: The Graham Norton Radio Show in London, England

May 8: British Academy Television Awards in London, England

May 9: BBC The One Show in London, England

May 11: Conversations with Friends Ireland premiere

May 14: BBC Radio 4 interview

May 17: The Kelly Clarkson Show taping in Los Angeles, CA (airs May 19)

May 17: Conversations with Friends Emmys FYC Event in Los Angeles, CA

May 18: Elle Hollywood Rising Party in Los Angeles, CA

New York University, May 18, 2022

May 22: BFI & Radio Times Television Festival in London, England

May 25: Stars at Noon premiere at Cannes Film Festival

May 26: Stars at Noon press conference and photocall at Cannes Film Festival

May 28: Fastnet Film Festival in Schull, Ireland

JUNE 2022

June 5: Hay Festival in Hay-on-Wye, Wales

Tribeca Film Festival, June 11, 2022

Video Music Awards, August 28, 2022

SEPTEMBER 2022

Toronto International Film Festival, September 09, 2022

September 11: Catherine Called Birdy premiere at TIFF

September 12: Catherine Called Birdy screening and press at TIFF

September 15: Catherine Called Birdy screening for Directors Guild of America (DGA) in New York

September 20: Catherine Called Birdy UK premiere in London

NSAI Awards, September 20, 2022

September 21: Catherine Called Birdy press in London

OCTOBER 2022

October 2: Stars at Noon NYFF Screening and Q&A

October 25: TIME100 Next Gala in New York City

NOVEMBER 2022

November 16: Catherine Called Birdy Q&A in Los Angeles

November 19: 13th Annual Governors Awards in Los Angeles

MTV Europe Music Awards, November 13th, 2022

AMAs, November 20, 2022

2023

Feb 5th, 2023 Grammy Awards 

[taekooktimeline]

May 31, 2023

Tae departs Seoul for an overseas project. Dispatch gets the exclusive, being the only media to know about his schedule. Tae’s departure is kept unofficial and Dispatch waits to share their video until he departs Seoul.

(Interestingly, the day before, Dispatch posted Jk’s last airport arrival, which you can view at this TW link- https://twitter.com/mytaekooook/status/1663602442662019083?s=46&t=StSwHjW0_Domk_lHUFMaCg)

It’s always important to me to document when Tae and Jk wear LGBTQIA+ and gender fluid items, so I’m detailing information on Tae’s necklace in this post.

A day before pride month starts, Tae wears an “in good hands” pendant necklace from designer Harris Reed x Missoma.

Harris is gay and identifies as gender fluid. Starting at the age of twelve, he chose clothes without regard to gender. He designs with a vision for gender fluidity and inclusivity (as well as sustainability). His clothes are known to challenge gender norms and masculinity, and he’s said, “I think ‘fluid fashion’ is a lot more about this idea of self-expression, and of holding yourself in the purest and highest regard.”

More on Harris here - https://www.newyorker.com/magazine/2021/09/27/harris-reeds-gender-fluid-fashion and here https://www.independent.co.uk/life-style/fashion/harris-reed-beyonce-british-adele-vogue-b2256498.html

Missoma’s mission, among other things (such as affordability and sustainability), is to be fashion forward, speak to the community and inspire confidence in people who love to champion self expression. Back in 2021, they launched their first gender fluid collection named “Fused.” More info here - https://graziamagazine.com/us/articles/missoma-fused-unisex-collection/

Tae’s pendant necklace -

Photos of Tae, exclusively captured by Dispatch (I love his blonde hair and I’m so excited to see what project he’s working on!)

necklace description -

It’s sold out now but you could buy it here (if / when restocked) - https://us.missoma.com/products/harris-reed-in-good-hands-drop-pendant-necklace-18ct-gold-plated-malachite

He also wore a new Foundrae chain and pendant titled “true love knot.”

Also - how sweet is it that Tae and Jk, once again, spent their free time together before Tae’s solo schedule😊

Collage CTTO; Detailed thread with more information + JK’s return from Qatar (when Taekook went to Paradise Hotel and filmed their Tik Tok “Run BTS” dance challenge) may be found here at this TW link - https://twitter.com/diortetae/status/1663825971617878016?s=46&t=StSwHjW0_Domk_lHUFMaCg

Recap of October 23, 2022 - Tae posting a photo of Jk on his IG stories - https://www.tumblr.com/taekooktimeline/718845941963210752/october-23-2023

Recap of November 22, 2022 (approximately) - Run BTS dance challenge at Paradise Hotel - https://www.tumblr.com/taekooktimeline/702090487479320576/approximately-november-22-2022-filmed-november

Recap of April 8, 2023, when Hobi and Taekook spent time together before Jk went overseas - https://www.tumblr.com/taekooktimeline/714807882986799104/april-8-2023

Recap of April 24-25, 2023 - when Tae uploaded a series of photos, one being him and Jk after the Dream premier + an IG story of him, Jk, Wooga and other friends walking the streets of Seoul (without any media, paparazzi or fans bothering or spotting them), before he flew to France - https://www.tumblr.com/taekooktimeline/717591887357362176/april-24-25-2023

Recap of May 29, 2023, when Tae mentioned he’d called Jk at dawn, and Jk was going to cook Makguksu for him the next day - https://www.tumblr.com/taekooktimeline/718760912250617856/may-29-2023