#adlon's art

[antifictionsfiction]

For my friend and fellow Diego lover B. (@scorsesedepalmafan) ❤

[antifiction]

I can't decide who to draw, so I'd love to hear your thoughts! I'm in the mood for John Turturro, Bruce Campbell or Alfred Molina. Who do you want to see? And which role/era? 👀

[hislittleraincloud]

I have a ficwife who likes Fill It Black (Coach Fillmore x Winnie Black), so here's a pic of them sharing coffee and biscuits while discussing the logo (I always seem to get Funkos when I don't ask for them 💀)

[persephonyed]

hiiiii cuties and happy friday! woohoo !! ♡

okay, it's that time again where i caught up on all of my drafts, and i'm finally allowing myself to get some new threads going. below the cut are muses that i really, really want to write with lately ( as well as a couple test muses ) + little descriptions of each of them. give this post a like if you're interested in writing / plotting / etc. with any of them and i'll come to you! you can even just treat this as a like for a starter even if u wanna. i'm really excited to write some new things and potentially find some new people to write with. ☺️

*** if u like the post, when i message u, i can and will ramble on and on about character descriptions and what everyone is like. i just didn't want to put it here because the post is already so long!

arden henderson — olivia cooke fc. late 20s, bisexual, forensic criminologist.

blair bennett — katie douglas fc. early 20s, bisexual, university student.

camille st. clair — jessica alexander fc. early 20s, bisexual, aspiring actress.

cora devlin — daisy edgar jones fc. mid 20s, bisexual, hair stylist.

darby davies — hailee steinfeld fc. mid 20s, lesbian, film & tv actress.

erin nichols — jessica chastain fc. mid 40s, bisexual, housewife.

eve lawson — willa fitzgerald fc. early 30s, bisexual, historian.

jillian "jill" walsh — alva bratt fc. mid 20s, bisexual, freelance photographer.

laia aguilar — fiona palomo fc. early 20s, bisexual, university student.

malia dixon — greta onieogou fc. early 30s, bisexual, indie film director.

margot jensen — sydney sweeney fc. mid 20s, bisexual, diner waitress and cult escapee / survivor.

maude morgan — ella purnell fc. mid 20s, bisexual, unemployed rich girl and secret drug dealer.

nora giuliani — victoria pedretti fc. late 20s, lesbian, true crime journalist and podcaster.

preston fox — rudy pankow fc. mid 20s, bisexual, university student, fraternity president, and lead singer / guitarist of his band.

palmer mckenzie — erana james fc. mid 20s, lesbian, professional athlete.

piper novak — samara weaving fc. early 30s, pansexual, coffee shop owner.

ramona "romy" park — adeline rudolph fc. late 20s, bisexual, professional concert photographer.

ruby brodsky — gideon adlon fc. late 20s, bisexual, arts grad student.

siena norwood — florence pugh fc. late 20s but is really centuries old, bisexual, vampire.

( the ones below this are all test muses ! )

bellamy caldeira — alba baptista fc. mid 20s, bisexual, will take any job that pays the bills.

katia garcia — camila mendes fc. late 20s, bisexual, competitive cheerleading coach.

penelope "penny" sosa — camila morrone fc. mid 20s, bisexual, team usa professional soccer player and secret onlyfans / cam girl.

valeria "val" quintero — rachel zegler fc. early 20s, bisexual, musical theatre university student.

[aktionfsa-blog-blog]

AfD lässt Tabus fallen

Rassengenetik - neues Wort für Rassenlehre

 Dominik Lenze berichtet auf Zeit.de, wie inzwischen bei der AfD die letzten Vorhänge vor ihrem rechtsradikalen Kern fallen. So hat Maximilian Krah, der AfD-Spitzenkandidat für die Europawahl den rechtsextremen Aktivisten Erik Ahrens mit Zuarbeit beschäftigt. Seine Arbeit gipfelt dann in TikTok Beiträgen der Art

"Nationalliberal ist tote Hose. Rechts ist geil."

"Echte Männer sind rechts."

"Unsere Vorfahren waren keine Verbrecher."

"Erbliche Veranlagung ist der Schlüssel zu allem, wer sie nicht versteht wird überall nur Rätsel und Irrwege sehen."

"Wer ethnische Afrikaner und Afghanen in die Regierung nimmt, macht die Regierung auch kulturell afrikanischer und afghanischer."

"Natürlich ist Korruption korreliert mit Kultur und Kultur mit Ethnie."

Zeit.de schreibt: Auch die Hausherrin des Landhaus Adlon, das ist die Potsdamer Villa, in der im November 2023 das von Correctiv enthüllte Treffen zwischen AfD und Rechtsextremen stattgefunden hatte, soll unter dem Pseudonym "Augusta Presteid" Thesen zu rassenideologischen Ideen und Eugenik in rechtsextremen Medien verbreiten, wie die Potsdamer Neuesten Nachrichten berichten. Der Brandenburger Verfassungsschutz hat hat das Pseudonym "Presteid" unter Beobachtung und die ARD-Sendung Kontraste will von der Hotelchefin erfahren haben, dass unter diesem Pseudonym mehrere Autoren schreiben würden.

Auch wenn der AfD-Spitzenkandidat für die Europawahl behauptet, Ahrens sei nicht sein Mitarbeiter, so hat er ihm doch einen "niedrigen vierstelligen Betrag" aus Mitteln der Fraktion "Identität und Demokratie" für seine TikTok Videos bezahlt. Zu dieser Fraktion im EU-Parlament gehören neben der AfD auch der italienische Lega und der französische Rassemblement National.

Mehr dazu bei https://www.zeit.de/gesellschaft/zeitgeschehen/2024-02/afd-wahlkampf-rassismus-europawahl-maximilian-krah

Kategorie[21]: Unsere Themen in der Presse Short-Link dieser Seite: a-fsa.de/d/3yV Link zu dieser Seite: https://www.aktion-freiheitstattangst.org/de/articles/8679-20240211-afd-laesst-tabus-fallen.html

[elcomfortador]

Night Court Did a Trans Episode, But Let’s Talk About This Episode Instead

“Bull Gets a Kid” (November 8, 1984)

For our second look at Night Court, we opted not for the so-so trans episode “Best of Friends,” which doesn’t really improve on the “my buddy is in town and it turns out is trans” plotline done so well by The Jeffersons. Instead, we are looking at a non-gay, non-trans episode guest starring Bobby Hill herself, Pamela Adlon, as a young girl who pretends to be a boy. There’s actually a lot going on here about gender norms that makes for a more interesting talk than if we have done the explicitly trans episode, we say. Markie Post, we’ll get to you one day.

Listen to our previous Night Court epsiode. Also watch the "full cast" opening credits to Night Court, made for the GEE TV episode.

Talking Simpsons’ What a Cartoon podcast watched Capitol Critters so you don’t have to.

Go shop at our TeePublic store!

Follow: GEE on Facebook • GEE’s Facebook Group • GEE on Twitter • GEE on Instagram • Drew on Twitter • Glen on Twitter

Listen: Apple Podcasts • Spotify • Stitcher • Google Podcasts • Himalaya • TuneIn

And yes, we do have an official website! We even have episode transcripts courtesy of Sarah Neal. Our logo was designed by Rob Wilson. This episode’s art was designed by Ian O’Phelan.

This is a TableCakes podcast.

Listen now!

[anhed-nia]

BLOGTOBER 10/8/2022: HELLRAISER (2022)

I think this movie is shining a light on the difference between how horror fans judge modern movies versus older ones, and perhaps especially versus the films of their childhood. I feel like I'm seeing a lot of responses from viewers who were immediately hung up on the glibly-deployed elements of addiction and recovery in HELLRAISER 2022, and so found themselves unable to engage with anything else in the movie. Personally…I just didn't take it so personally, and it occurred to me that I've never heard anyone complain about the ludicrous portrayal of mental illness and autism in HELLRAISER II, or the specter of incest that haunts HELLRAISER '87, and I could easily branch out into other much-adored movies that are not too socially-just, but that remain cozily swaddled in nostalgia, loved and forgiven. Maybe there's a feeling that newer movies should know better, coming as they do from an enlightened era of being fully informed about the suffering of others via the educational power of the internet, and therefore taking everything as seriously as possible. Maybe that makes modern viewers feel like it's too late to correlate the scourge of addiction with the quest for experience sought through the lament configuration. I mean, everybody has a right to their reactions and I think it's culturally healthy for even a really great work of art to take a few slings and arrows, to keep us all off autopilot. But I think that holding the human grist in HELLRAISER to the standards of neorealist drama is sort of missing the point of a movie like this—which is, of course, the cenobites.

And the cenobites are great! Director David Bruckner gives good monster yet again, having delivered a fabulous beast in 2017's THE RITUAL, and true to the spirit of 2020's THE NIGHT HOUSE, he shows a refined understanding of infernal geometry. David S. Goyer joins the screenwriters of the latter movie, Ben Collins and Luke Piotrowski, to set up a plot about a rich pervert (Goran Visnjic) who has a typically disappointing transaction with the cenobites, and so he manipulates a group of young dirtbags into helping him negotiate a new deal. I guess there are never enough survivors of cenobite commerce for word to get around that they only offer a monkey's paw type of thing, but I don't really care if the characters make a lot of dumb decisions so long as the tradeoff is always that I get to see cenobites.

The story centers on recovering addict Riley (Odessa A'zion, who I just have to mention is one of Pamela Adlon's kids!) who discovers the lament configuration during a robbery planned by her sleazy boyfriend Trevor (Drew Starkey). Riley's lapse of judgement allows the cenobites to make off with her brother (Brandon Flynn), and so Riley and her friends pursue the secrets of the puzzle box to try to save him. While HELLRAISER '22 has been described as a remake and a reboot and a reimagining in various quarters, David Bruckner has been clear that it's, like, just another Hellraiser story. There are a lot of books and comics and movies about all the different people who fall prey to the box's enticements, and it's totally reasonable to just make another one of those based on the series' abundantly flexible premise. Actually, while my husband and I were watching the movie, we started compulsively riffing on all the different things you could do: First we felt like Riley's misadventure with her unlucky friends was just like an episode of Search Party, which made us think about how funny it would be to introduce the lament configuration in other Bad People sitcoms like Seinfeld, or Curb Your Enthusiasm, or It's Always Sunny In Philadelphia, and then before long we were imagining a whole season of The Rehearsal where Nathan Fielder tries to get a series of unfortunate rubes to open the box for him.

What HELLRAISER '22 offers is not grand insights into human nature, but fun experiments with the basic conceit. The lament configuration is one of the greatest designs in horror to be sure, and yet somehow nobody has ever gone into detail about why it assumes so many shapes. I normally do NOT want a bunch of anal retentive rules and dry explanations added to my horror movies; I find that the less mysterious things are, the less emotionally effective they are. In this case, the coding of each of the box's configurations as representing a different human longing both honors the original lore, and adds complimentary flavors—and speaking of flavor, I'd love it if someone would realize my idea for a breakfast cereal with freeze-dried marshmallow configurations. But anyway, the love of design and its expressive capabilities is laced through the whole movie, from its inventive architecture, to its fabulous new cenobites. A lot of love went into crafting these things, and Jamie Clayton easily earns her place in the expanded scheme of things. Viewers who are too distracted by HELLRAISER '22's tangential references to the real-life horrors have my sympathy, because if you can watch around the corners of that issue, there is much to enjoy.

[historyhermann]

Moon Girl and Devil Dinosaur Spoiler-Filled Review

Moon Girl and Devil Dinosaur, also called Marvel's Moon Girl and Devil Dinosaur or Moon Girl, is an animated superhero adventure series created by Laurence Fishburne and Helen Sugland. It is based on the 2010s Marvel Comics series, Moon Girl, by Brandon Montclare, Amy Reeder, and Natacha Bustos.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the twenty-? article I wrote for Pop Culture Maniacs. This post was originally published on April 24, 2023.

The plot of Moon Girl centers on a young girl named Lunella Lafeyette (voiced by Diamond White). She is secretly a superhero named Moon Girl, named after her favorite scientist, and a student by day. She uses a dimensional portal to bring a T-Rex named Devil Dinosaur (voiced by Fred Tatasciore), to the streets of New York City. Her best friend, Casey (voiced by Libe Barer) helps her, while she fights against villains like The Beyonder, a mischievous and curious trickster voiced by Fishburne.

Lunella's family have an important role in this series. Her grandmother Mimi, mother Andria, father James Jr., and grandfather "Pops" are protagonists. They are voiced by acclaimed actors such as Alfre Woodward, Sasheer Zamata, Jermaine Fowler, and Gary Anthony Williams. I personally remembered Williams for voicing characters in Star Wars Rebels, Star Wars Resistance, Velma, The Cuphead Show!, and The Owl House, or when Zamata voiced Jade in the subpar film, The Mitchells vs. the Machines.

From the get-go, I knew that Moon Girl would have a superb animation quality because the show's production companies include the animation arm of Disney (Disney Television Animation), a Marvel Studios subsidiary (Marvel Animation), and two animation studios: Titmouse and Flying Bark Productions. The latter two are known for Star Trek: Lower Decks, Fairfax, The Legend of Vox Machina, Glitch Techs, What If...? and Pantheon.

Fishburne's own production company, Cinema Gypsy Productions, is helping produce Moon Girl. This could be part of the reason the series got a favorable reception from executives, resulting in renewal of a second season before the first season had premiered. The animation style is said to be inspired by Spider-Verse, pop art such as Jean-Michel Basquiat, Andy Warhol, and Keith Haring, along with comic book and graffiti style, and other influences.

Moon Girl has an impressive cast including well-recognized names like Indya Moore, Craig Robinson, Pamela Adlon, Jennifer Hudson, Anna Akana, and Asia Kate Dillon. It includes actors of Indian, Iranian, Puerto Rican, Vietnamese, and Palestinian descent.

This is reinforced by executive producer Steve Loter, composer Raphael Saadiq, and producers Pilar Flynn and Rafael Chaidez. Loter is an executive producer of The Ghost and Molly McGee and has been recognized as a former Kim Possible producer. Saddiq previously did the discography for Lovecraft Country Season 1. Flynn was co-producer of Elena of Avalor.

Show director Trey Buongiorno previously been a storyboarder on Glitch Techs and She-Ra and the Princesses of Power. Samantha Suyi Lee storyboarded on Cleopatra in Space, Christine Liu on Steven Universe, Rodney Clouden on Futurama, and Ben Juwono on Big Hero 6. Show writers Jeffrey M. Howard, Kate Kondell, Halima Lucas, Liz Hara, Taylor Vaughn Lasley, Maggie Rose, and Lisa Muse Bryant have written for Elena of Avalor, Rugrats, Sesame Street, Broad City, and Kenan.

The cast and crew of Moon Girl support the series' aim to be something for "everyone" and have tones of "heart...comedy, incredible action and great music" as Loter put it. What he is saying has validity since the series is clearly smart, punchy, dynamic, dazzling, and enchanting, with a unique personality.

Representation in Moon Girl is central to the show's storyline. In an interview with the show's producers in February 2023, Loter noted that the show started with Laurence Fishburne loving the Marvel’s Moon Girl and Devil Dinosaur comic series because he had read the original late 1970s Devil Dinosaur comic. Supervising producer Rodney Clouden said that it "means a lot" for the series to have the first Black female protagonist in a superhero series by Marvel.

Later in the interview, Clouden added that Lunella is more than young Black girl into science and math, but is about helping her community and family. This is because her brains are her superpowers, not any other special abilities. She is a 13-year-old who has teen problems that are relatable, and universal. This is done with the intention of making the series inspirational and creating "sophisticated and elevated children’s program", to summarize Clouden's words.

There is more beyond the interview with Loter and Clouden. Like The Proud Family: Louder and Prouder, Craig of the Creek, or My Dad the Bounty Hunter, the series has a Black-majority main cast. Moon Girl is different than those two series, in that it is centered on superheroes. There are very few other Black superhero animated series, apart from three prominent series, either Vixen in the 2010s, Static Shock in the 2000s, or Todd McFarlane's Spawn in the 1990s. Various additional Black cartoons aired since the 1970s, but few are in the superhero genre.

Moon Girl has outward LGBTQ representation. This includes Lunella's classmate, Tai, and living/A.I. supercomputer named LOS-307, which are both non-binary, and Brooklyn, an openly trans character. Furthermore, Casey has two dads: Isaac and Antonio.

The voice actors for Tai and LOS-307, Ian Alexander and Asia Kate Dillon, are non-binary in real life, while Indya Moore, the voice of Brooklyn, is trans and non-binary. In addition, Wilson Cruz and Andy Cohen, who voice Casey's dads, are both gay actors. It remains to be seen if any of the main cast will be shown as LGBTQ or not. Some fans have seen hints of romantic attraction between Casey and Lunella, shipping them either as "Lucasey" or "Mediamoon", but ship this has not been confirmed presently. Furthermore, it is possible that since Michael Cimino, who voices Lunella's loud friend, Eduardo, has seemed to say his sexual identity is fluid, this may be reflected in his character.

In watching Moon Girl, I was reminded by the fact that Moore previously voiced a trans character in animation (Shep in Steven Universe Future). Recently, Dillon provided the voice for the genderfluid and pansexual Val/entina Romanyszyn in the ever-controversial and problematic gen:LOCK. This series appears to be the first voice role for Cohen, but not for Alexander or Cruz.

This is not unique to Moore and Dillion. Diamond White has provided her voice for characters in Phineas and Ferb and Sofia the First. Tatasciore has voiced characters in animated series since the 1990s. Fowler prominently did voices for Tuca & Bertie and BoJack Horseman. Others have voiced characters in wide-ranging series including We Bare Bears, Star Wars: The Clone Wars, Mira, Royal Detective, The Simpsons, and Hamster & Gretel.

The show's first episode began with a bang and pulled me in almost immediately. I've been lamenting the reality that few present series have roller-skating protagonists. This could be because wearing such shoes seem almost retro these days. It is part of Lunella's shtick, as she skates around fighting villains with the help of her dinosaur (Devil), using her gadgets for good.

Having a protagonist move around in roller skates puts in her good company alongside protagonists such as Sakura Kinomoto in Cardcaptor Sakura and Candace Flynn in Phineas and Ferb. Occasionally Kim Possible of Kim Possible and Milo Murphy in Milo Murphy's Law wear them. The same is the case for characters in the Steven Future Universe episode "Bismuth", possibly Jenny /XJ-9 in My Life as a Teenage Robot, and more directly, Neon Katt as shown in some RWBY volumes.

What further endeared me to Moon Girl was the setting, in New York's Lower East Side, and character's relatability. In the 44-minute first episode, Lunella almost abandons being a superhero, after Devil is seriously injured by Aftershock. She is reassured on her path by her wise grandmother, Mimi (voiced by Alfre Woodard). The latter makes even more sense after the revelation in the season one finale that Mimi knew that Lunella was Moon Girl the entire time!

I can see how Moon Girl is like the musical coming-of-age comedy, Karma's World, created by rapper Ludacris. Both series emphasize the importance of community, family, and history. The latter is manifested within Moon Girl with blending of the old with the new. Moon Girl uses a cassette player as a device. The show's fight scenes featured music which fits perfectly with the story and action, while in-keeping with the series style. As a person who enjoys interacting with "analog" technology, or possibly soon-to-be analog (CDs and DVDs), I liked this part of the story.

The series has similarities with Karma's World and The Proud Family: Louder and Prouder when it comes to episodes about the dangers of fighting online trolls, and themes of cooperation (rather than competition), friendship, self-acceptance, patience, and Black girl's hair. One episode even echoes the "Sugar Rush" episode of Elena of Avalor. Lunella speeds up tasks because they are taking "too long", reminding me of Elena using her powers to speed up the making of chocolate desserts. Another episode slightly mirrors Steven Universe finale "Change Your Mind" where Steven fuses with himself (Pink Steven), when Lunella comes back together with her hair, Mane (voiced by Jennifer Hudson), promising to take care of it.

Moon Girl has recurring villain-of-sorts, as noted earlier. He is one of the most playful I've seen in animation and is named the Beyonder. He is not conniving like Cece Dupree in Karma's World or downright evil such as Salem in RWBY. He can be playful and fun, but can do a lot from the snap of a finger. In fact, he even threatens to destroy all of humanity in the show's seventh episode, unless Lu "proves" to him that humanity is worth saving.

In another, he kidnaps Lunella's mother and Casey, threatening to send them to another dimension, where she will never see them again. He never considers how his actions will cause trauma, only claiming that what he is doing is "helping" her, which is questionable. Hopefully, Lunella doesn't have a meltdown like Ruby Rose in Volume 9 of RWBY, who takes her own life, or Steven Universe in Steven Universe Future who becomes a monster.

The ninth episode of Moon Girl mirrored some plot points in the classic Futurama episode "Time Keeps Slippin'" and the more-recent Cleopatra in Space episode "Do-Over". In all three cases, skipping forward in time goes horribly wrong, but with completely different results. In the case of Moon Girl, the episode points to the dangers of A.I., as shown by the Skipster App, and hints at possible future scenes in the show's second season.

The value of a work-life balance is emphasized through Lunella faking a sickness to get out of a photoshoot. This reminds me of the Cleopatra in Space episode "Cleopatra Needs Space". The difference is that Lunella lies to her friend Casey, claiming she cannot get of bed so she can have a break, while Cleo wants to get away from her two friends who are flirting with one another. However, Moon Girl doesn't as directly counter the issues with overwork, making it different, in that regard, from the isekai anime, I've Been Killing Slimes for 300 Years and Maxed Out My Level, which emphasizes this theme repeatedly.

I further enjoyed the episode in which Lu rallies her community against the Muzzlers, two White home inventors, who are trying to gentrify the Lower East Side. The episode examines gentrification as much the Season 2 finale or three-part Season 4 finale of Karma's World, both of which approach the topic in their own ways. Moon Girl is more poignant on this topic than the construction by the golf-addicted Mafia in Birdie Wing, in which the protagonist's family are evicted, or that shown in City of Ghosts.

The last few Moon Girl episodes, which focus on value of chosen family, facing your fears, and being perfect the way you are, strongly end the first season. These episodes also center plotlines about Jewish traditions (since Casey is part Jewish) and the issues with clout-chasing. The latter is somewhat reflected in certain episodes of The Proud Family: Louder and Prouder.

The two-part season one finale of Moon Girl is unique. The villain, Maris Morlak (voiced by Wesley Snipes), wants to construct a dimensional portal so he can gain recognition for his contributions from White leaders, which are those with authority.

Maris reveals that his work, and that of Lu's grandmother, Mimi, were ignored by their White bosses, with White scientists taking all the credit when speaking to the U.S. military generals. This story of casual and institutional racism is more relevant than ever, with  White supremacy currently running rampant across society. I liked how even though Mimi disagrees with his method (opening the portal), she agrees with his concerns, but says he doesn't need others to validate him.

The actions of Maris go beyond the actions taken by other series villains, such as the Rat King, Abyss, and Gravitas, and Odessa Drake. He has an army of followers to support him, called the Enclave, and is willing to do anything to achieve his goals. In fact, he is probably the most ruthless villain of the series, destroying Lunella's underground lab, even when Devil is trapped inside, causing Lunella to drop to her knees and think Devil died. Although this is not the case, it undoubtedly deepens Lunella's growing trauma, which may be addressed more in season 2.

The first season of Moon Girl ends on a cliffhanger, with Mimi and Lu turning off the dimensional portal from each side. It could possible provide fuel for crossover fan fictions to be written by dedicated fans. The second season of Moon Girl may feature more of S.H.I.E.L.D. and its Agent, Maria Hill (voiced by Cobie Smulders), tying the series more into the Marvel Universe.

The growing friendship between Lunella and Casey will likely be an important part of the next season. By the end of the season, Casey becomes almost becoming the equivalent of Tomoyo Daidouji in Cardcaptor Sakura, who made all of Sakura Kinomoto's Cardcaptor outfits. This is because Casey made the outfits that Lunella used as a superhero. In addition, it is possible that the Beyonder will have a bigger role in the next season, and there be more fourth-wall breaks. The series might even have a storyline akin to the OK K.O. episode "Your World Is an Illusion", in which K.O. realizes that his whole world is an illusion.

Moon Girl fills the void left by the season 2 finales of The Proud Family: Louder and Prouder on February 1 and Star Wars: The Bad Batch on March 29, and the series finales of The Owl House (on April 8) and Amphibia in May 2022. Unfortunately, with the last episode of Moon Girl airing on the Disney Channel on May 6, it may be some time before any other series with as strong plot, characters, animation, and writing airs on Disney+ or other Disney-related platforms.

Although Kiff and Hamster & Gretel have their merits, as do any of the other animated series on Disney+ or Disney Channel, none of them measures up to Moon Girl, or the quality of The Bad Batch, Amphibia, and The Owl House. The same may be the case for upcoming series such as Hailey's On It!, Primos, Iwaju, Cookies & Milk, Tiana, or Moana: The Series, something which can only be proven or disproven after said series begin airing.

Although the episode-dumps on Disney+, the equivalent of Stevenbombs, undoubtedly reduced the possible audience, Moon Girl remains a shining example of a recent animated series. It can be enjoyed by all, even though it is primarily aimed at children. It is for that, and reasons I have previously stated, I recommend this series and look forward to the second season.

Moon Girl and Devil Dinosaur is currently airing on Disney+.

[disneytva]

Disney Sets Series Premiere Alert For Firebuds For Wednesday, Sept. 21, on Disney Junior and Disney+.

Disney has responded the call of “Firebuds,” an animated comedy-adventure series from Disney Television Animation  featuring a team of young first responders and their talking vehicle sidekicks, premieres September 21st, with a simulcast on Disney Channel and Disney Junior (10:30 a.m. EDT). An initial batch of episodes will premiere the same day on on-demand platforms and Disney+.

Set in a fantastical world where talking vehicles live, work and play with the humans who drive them, “Firebuds” follows a boy named Bo and his fire engine best friend Flash as they team up with their first responder friends to help others in their community with problems big and small. Each episode is comprised of two 11-minute stories that showcase the importance of teamwork, helping fellow citizens and volunteerism. The creative team worked with consultants from RespectAbility to help populate the diverse communities of Gearbox Grove and Motopolis featured in the series.

Firebuds is Created By Craig Gerber the series’ creative team consists of Matt Hoverman as story editor, Francis Giglio as art director, and Robb Pratt and Craig Simpson as supervising director and producer, respectively. Krystal Banzon, Leanna Dindal, Norma Sepulveda, Jeremy Shipp and Alyssa Stratton comprise the writing team, and the episodic directors are Kris Wimberly and Julius Aguimatang.Emmy Award-nominated Beau Black is the series songwriter, and Emmy Award winner Frederik Wiedmann is composer. “Firebuds” is produced by Disney Television Animation and is Disney TVA’s 92 series overall.

Planned extensions for the series include “Disney Junior Music: Firebuds” digital soundtrack from Walt Disney Records, debuting Sept. 16, and storybooks from Disney Publishing releasing later next year. Spin Master is the North American toy licensee for the series and will debut an innovative toy line featuring vehicles, figures, playsets and more, launching in summer 2023. 

Additionally, Bo and Flash will be featured in the upcoming “Disney Junior Live On Tour: Costume Palooza,” launching Sept. 2, with stops at more than 80 North American cities throughout 2022.

The lead voice cast includes Declan Whaley as Bo, Terrence Little Gardenhigh as Flash, Vivian Vencer as Violet, Lily Sanfelippo as Axl, JeCobi Swain as Jayden, and Caleb Paddock as Piston. Lou Diamond Phillips and Yvette Nicole Brown also star as co-fire chiefs, Chief Bill Bayani and Chief Faye Fireson, respectively.

Joining the previously announced voice cast in recurring and guest star roles include the following:

Padma Lakshmi (“Top Chef”) as Chef Pavani

Melissa Rauch (“The Big Bang Theory”) as Beth Bayani

Oscar Nuñez (“The Office”) as Chef Fernando

José Andrés (“We Feed People”) as Chef Al

Pamela Adlon (“Better Things”) as Principal Kagan

“Weird Al” Yankovic (“Milo Murphy’s Law”) as Latch

Lisa Loeb (“Jake and the Never Land Pirates”) as Laura

Patton Oswalt (“Ratatouille”) as Duke the Duckbus

Nat Faxon (“Loot”) as Throttle

Ali Stroker (Broadway’s “Oklahoma!”) as Gliderbella

LaChanze (Broadway’s “The Color Purple”) as Jenna

Aimee Carrero (“Elena of Avalor”) as Marina Ramirez

Natalie Morales (“Dead to Me”) as Val Vega-Vaughn

Allison Case (Broadway’s “Matilda the Musical”) as Viv Vega-Vaughn

Rich Sommer (“Mad Men”) as Mr. Wexell

Atticus Shaffer (“The Middle”) as Wayne Riley

Tatiana Lee (“Speechless”) as Ayanna

Lauren “Lolo” Spencer (“Give Me Liberty”) as Jazzy

[maisons-et-chateaux]

Incendié à la fin de la Seconde Guerre mondiale avant d’être reconstruit à l’identique, l’hôtel Adlon, qui a rouvert ses portes à Berlin en 1997, a suivi les soubresauts d’une histoire nationale mouvementée. Cet épisode plonge dans les coulisses du luxueux établissement, qui, depuis plus d’un siècle, attire les grands de ce monde, d’Albert Einstein à Bill Clinton en passant par Charlie Chaplin ou le dalaï-lama.  

En 1907, avec la bénédiction de l’empereur Guillaume II, le visionnaire Lorenz Adlon, qui a déjà implanté à Berlin une cuisine gastronomique raffinée et exotique par le biais, notamment, du restaurant du jardin zoologique, décide d’ouvrir un palace en face de la porte de Brandebourg.

[xtruss]

Dorothy Thompson Is the Most Famous Female Journalist You've Never Heard Of

She made a name for herself by speaking out against fascism abroad and at home. Then the fight got personal.

— January 11, 2024 | Kirstin Butler

A Full-Color Illustration Featuring Archival Images of Journalist Dorothy Thompson, a Typewriter, Marching Nazi Troops, and the Book "I Saw Hitler". Art by Colin Mahoney. Source photo of Dorothy Thomspon: National Archives and Records Administration

On the morning of August 25, 1934, the American journalist Dorothy Thompson was taking breakfast in her room at the Hotel Adlon in Berlin when she received a letter from the Gestapo. “In view of your numerous anti-German publications in the American press,” Thompson was informed, “the German authorities, for reasons of national self respect, are unable to extend to you a further right of hospitality.”

The Reich bore her a distinct animus. For years, she had been critical of fascist movements throughout Europe. After being granted an interview with Hitler in 1931, Thompson wrote an especially unflattering portrayal of the soon-to-be German chancellor. That long essay, which first ran in Cosmopolitan Magazine, was subsequently turned into a book called I Saw Hitler. “He is formless, almost faceless,” Thompson had written, “a man whose countenance is a caricature, a man whose framework seems cartilaginous, without bones. He is inconsequent and voluble, ill-poised, insecure. He is the very prototype of the Little Man.” In addition to that injurious portrait, Thompson had produced a series of articles for the Jewish Daily Bulletin deploring Hitler’s anti-semitic policies.

The Führer was reportedly threatened enough by her work to demand the creation of a “Dorothy Thompson Emergency Squad” to rush translations of her articles. Now, at the personal directive of Hitler himself, she was being expelled from the country, an unprecedented act against an American correspondent.

A cadre of foreign journalists sent Thompson off, colleagues from her years as Central European Bureau chief for the New York Evening Post and Philadelphia Public Ledger. (She had been the first-ever woman appointed to the position, which oversaw foreign coverage for both newspapers, a decade earlier.) “Nearly the entire corps of American and British correspondents went to the railway station to see her off and wish her good luck,” the New York Times reported, adding that Thompson was presented with an armful of American Beauty roses as a gesture of admiration.

Far from silencing her, the expulsion only increased Thompson’s influence. The Times featured the story of her ban on the newspaper’s front page, and eagerly ran her reflections about it the following day. “My offense was to think that Hitler is just an ordinary man,” she wrote. “That is a crime against the reigning cult in Germany, which says Mr. Hitler is a Messiah sent by God to save the German people—an old Jewish idea.” Thompson closed her column in the Times with the kind of bon mot that had already propelled her to public renown: “To question this mystic mission is so heinous that, if you are a German, you can be sent to jail. I, fortunately, am an American, so I merely was sent to Paris. Worse things can happen to one.”

Thompson in 1937. Getty Images.

Upon her return to the United States, Thompson turned her indomitable energies toward denouncing fascism with every opportunity she was offered, and she was offered many. First came a 30-city lecture tour spanning the next year and a half. Then in 1935, NBC offered Thompson her own weekly radio show, allowing her to speak directly to tens of millions. The next year she began writing “On the Record,” a regular column with the New York Herald Tribune, that was syndicated to 150 other newspapers across the country, placing her opinions in front of millions more. She was eventually given a TIME magazine cover, where the accompanying profile called her and Eleanor Roosevelt “undoubtedly the most influential women in the U.S.”

Thompson leveraged all of these platforms to warn audiences about the dangers of totalitarianism—but not just in Europe. At home, she found cause for concern in the New Deal, with its wage- and price-setting, its massive public works projects and centralized power vested in the executive branch, all of which she feared could presage a slide into authoritarian rule. “What we are interested in is neither the dictatorial talents nor the dictatorial predilections of the President. We aren’t concerned with whether he wants too much power, but with whether he can get too much power.” In 1937, she testified before Congress about what she viewed as a slippery slope from consolidated federal control to fascism. “In country after country, under one slogan or another, the people are retreating from freedom,” Thompson told the Senate Judiciary Committee, “and voluntarily relinquishing liberty to force and authority.”

“Her point was this can happen anywhere,” University of London professor Sarah Churchwell told American Experience. “You have to strengthen your Democratic guardrails. You have to ensure that you don't let this happen to you because complacency is the enemy. And that is what she wrote about over and over and over again, banging the drum. Warning people, take this seriously. This isn’t a joke. And nobody is immune to it.” Thompson saw no conflict between her roles as a journalist and a staunch anti-fascist voice. “The function of journalism and a free press is not confined to the presentation of news,” she wrote. “Their function is to create continual debate, to provide a forum, to give opportunity for the expression of opinion.”

A promotional poster for the 1939 Bund rally in Madison Square Garden. Image courtesy of the National Museum of American Jewish Military History.

When it came to homegrown American Nazism, that expression involved significant personal risk. Thompson’s moment of direct action took place on February 20, 1939 at New York City’s Madison Square Garden. She was on her way to give a speech when she decided to join a convocation of 22,000 American Nazis hosted by the German American Bund, a pro-fascist organization with chapters across the country. The event had been planned to coincide with George Washington’s birthday, billed by the Bund as a “mass demonstration for true Americanism.”

Coverage in The Boston Globe the next day noted that the rally had “all the trappings of the spectacular mass assemblies familiar to Nazi Germany…Storm troopers strode the aisles. Military bands blared martial airs and German folk songs. Young and old Bund members paraded and drilled in the glare of blue spotlights. Arms snapped out in the Nazi salute.” The American flag hung side by side with the Nazi swastika and banners bearing messages such as “Stop Jewish Domination of Christian America.”

Thompson was seated in the front row of the press box, and during the evening’s speeches, began to laugh, loudly and disruptively. After being escorted out of the building by New York City police, she returned to her seat where she was surrounded by a dozen Bund stormtroopers. Thompson then proceeded to cause a second scene by shouting “bunk!” at the stage. “It may have been her finest moment,” wrote her biographer Peter Kurth, “the indelible dramatization of her promise to Hitler that she would not be muzzled by thugs.”

“I was amazed to see a duplicate of what I saw seven years ago in Germany,” she told a reporter after leaving the event. “Tonight I listened to words taken out of the mouth of Adolf Hitler.” It was precisely those words’ utterance at home that alarmed her most. She had spent a good part of her career watching how fascism could, improbable as it might first have seemed, sweep over a nation.

“No people ever recognize their dictator in advance,” Thompson wrote in a 1937 “On the Record” column, making the clearest case possible for constant vigilance. “He never stands for election on the platform of dictatorship. He always represents himself as the instrument for expressing the Incorporated National Will. When Americans think of dictators they always think of some foreign model. If anyone turned up here in a fur hat, boots and a grim look he would be recognized and shunned…But when our dictator turns up you can depend on it that he will be one of the boys, and he will stand for everything traditionally American.”

[featherskies]

Look who just woke up- is that GIDEON ADLON? No, I must have been mistaken, that’s HAZEL VIKANDER from TOP GUN: MAVERICK. I heard she is 19 and stuck here just like everyone else. Even in the 20’s, they still give off a COLLECTION OF PRESSED FLOWERS INTO JOURNALS, FEET PLANTED ON DIFFERENT BEACHES AROUND THE WORLD, CUTE LATTE ART impression. They’re known to be quite TRUSTING, but have a tendency to be RESTLESS on their bad days.

Gender/Pronounsr

Hazel is a cisfemale, and her pronouns are she/her. 

How long have they been in Sydney?

Hazel has lived in Sydney for the past year, but in her fake life has lived there her entire life. 

Job

hazel is currently a waitress and is working her way through school. 

Which suburb do they live in?

hazel is currently living on campus for this semester, but is saving up for her own apartment. she is probably also gonna be looking for someone to rent with.  

Memories of their real life :

hazel’s fake life was spent constantly moving around. her father was very high up in the military and they spent a lot of time moving around bases. shortly after she turned 18, she remembers going to a party with her father and meeting someone who she thought would be someone who she would have spent a long time with. it didn’t work out that way, and now she is paying for the consequences here in sydney. the last thing she remembers is finding out about the baby, and then waking up here. 

What was their fake life like?

tbd after plotting, but looking for: fake life siblings (jewish), coworkers at the diner, future roommate.

label

THE TACITURN – someone who is shy and tends to be very quiet, especially around those they don’t know very well

quote

“we never talked much, or even looked at each other, but it didn’t matter, because we were looking at the same sky together, which is maybe more intimate than eye contact anyway. anybody can look at you. it’s quite rare to find someone who sees the same world you see.” 

graphic

see above

[hislittleraincloud]

Miller's Girl Series 1 (Mr. Miller, Cairo Sweet, & Winnie Black) 🫴🏽🌸🪲🌿✨

[thebridgehqs]

Welcome to 1926 – Hazel Vikander !! I hope you feel right at home here in Sydney. Before you get too comfortable and see what all our city has to offer, be sure to review our CHECKLIST. We’re so glad to have you with us, Kaylee !!      

Look who just woke up- is that GIDEON ADLON? No, I must have been mistaken, that’s HAZEL VIKANDER from TOP GUN: MAVERICK. I heard she is 19 and stuck here just like everyone else. Even in the 20’s, they still give off a COLLECTION OF PRESSED FLOWERS INTO JOURNALS, FEET PLANTED ON DIFFERENT BEACHES AROUND THE WORLD, CUTE LATTE ART impression. They’re known to be quite TRUSTING, but have a tendency to be RESTLESS on their bad days. (kaylee!)

[ramascreen]

Key Art And Trailer For Hulu's "The Paloni Show! Halloween Special!" (Premieres Oct. 17)

Key Art And Trailer For Hulu’s “The Paloni Show! Halloween Special!” (Premieres Oct. 17)

Check out the all-new trailer and key art for Hulu’s upcoming “The Paloni Show! Halloween Special!,” from “Solar Opposites” creator Justin Roiland. The special stars Roiland, Zach Hadel, Pamela Adlon, Vatche Panos, and Karl Wahlgren. It premieres on October 17, 2022 and is available for editorial consideration via Hulu’s Screening Room.  SYNOPSIS: From creator Justin Roiland (“Solar Opposites”),…

[arcadiafm]

𝐖𝐄𝐋𝐂𝐎𝐌𝐄  𝐓𝐎  𝐀𝐑𝐂𝐀𝐃𝐈𝐀,  ziva “zee” dane-summers  !  the  face  claims  of  gideon adlon  are  now  taken.  you  have  24  hours  to  send  in  your  account  or  your  role(s)  will  be  reopened.  check  out  the  new  member  checklist  and  have  a  look  around!      

⟨  gideon  adlon.  demiwoman.  she/they.  24.  ⟩   LOADING  FILES …  did  you  know  LORNA  DANE  &  ALEX  SUMMERS’  child’s  name  is  ZIVA  “ZEE”  DANE-SUMMERS  ?!  i’ve  seen  them  around  town  listening  to  GOD  HAS  A  SENSE  OF  HUMOR  by  GAYLE  !  they  seem  to  be  quite  outspoken,  but  also  fearful,  but  it  makes  sense  given  they  are  a  GRADUATE  STUDENT  at  ARCADIA  UNIVERSITY.  i’d  watch  out  for  them,  though,  official  files  say  they’re  a  MUTANT  skilled  in  MAGNETISM  &  METAL  MANIPULATION,  ENERGY  ABSORPTION,  GEOMAGNETIC  LINK,  MARTIAL  ARTS.  no  surprise  there  !  ⟨  admin  mars,  26,  mtn,  they/she.  ⟩