#branden james

[notastranger]

[mastersoftheair]

some screencaps from the trailer. if you’ve been following this blog, you may recognize some faces (callum turner as john “bucky” egan, austin butler as gale “bucky” cleven, harry ames as august gaspar, james murray as neil “chick” harding, branden cook as alexander jefferson, nathen solley as john hoerr, ben radcliffe as john brady, jon-paul bell as john burgin, darragh cowley as glenn graham, tim preston as robert speas, and max hastings as kenneth allen). see if you can spot them!

[croziers-compass]

Summary Notes of Terror Camp 2023 (10.12.23)

(A small summary of notes and references I took during Terror Camp Day Two - Antarctic Exploration!)

Branwell's Death Narratives

Captain Scott - The narrative tilts. It tilts according to who's written it.

Vitai Lampada by Newbolt

The Book of the Long Long Trail - Newbolt

Scott Supporters vs Critics. Was he a fool or a misunderstood individual? Challenge the complexities with which a Narrative is design and revolved around. Interrogate the Narrative and where it came from!

Caitlin Branden

Personal Bias and Individual experiences steer your experience with a particular Polar Expedition

"A wonderful Evening"

Which Member of the Expedition Are You?

What attracts you to your Expedition? What about your Expedition draws you to it? What do you talk about when you talk about the Expedition of your Heart?

Rach

"Terrebus"

Narratology

"How do we frame the Narrative and How does the Narrative Frame us?"

"We cannot ask reason to take us across the Gulf of the absurd"

" The real Quest was the books we tried to write along the way " - R - The Discord Chat

"We all have our special little guys"

"Perhaps being haunted is part of being Human"

"Any Narrative can become dangerous if it becomes The Narrative. Be aware of the Biases off the Narrative you are writing. Take responsibility for the Narrative."

"Carry your little Guys in your pocket"

Emma J. P. - From the South Pole to the Stars

Incredible Parallels twixt the Astral Exploration of Space and the Antarctic / Polar Explorations with Antarctica being a simile for time spent off of Earth itself.

Empty and Vast

Roald's Narrative during the South Pole Expedition!

Sam Botz - The Feminine (?) Antarctic

"The Last Imaginary Place on Earth."

Antarctica The Woman - Stephanie Krzywonos

"Flying and Singing Like Sparrows" - Le Guin

Phil M. (linked to Patreon) (Paper Doll Polar Explorer's Sea Chest)

Ross and Crozier Expedition!

"They were Hut Mates"

Crozier Passed His Leftenant Exam at 21 in the year 1817 Ross and Crozier serving under William Perry

They Celebrated St. Patricks day!

McCormick is our Narrator through much.

"EVERYONE WAS WET"

⚓ Robert McCormick's geological collections from Antarctica and the Southern Ocean, 1839–1843

⚓ (Ross Volume 1) Voyages of discovery in the Arctic and Antarctic seas and round the world [microform] : being personal narratives of attempts to reach the North and South Poles ⚓(Ross Volume 2) A voyage of discovery and research in the southern and Antarctic regions, during the years 1839-43

by Ross, James Clark, Sir, 1800-1862 (links to Archive for JCR)

⚓Cunninham's Transcribed Journal

⚓ (An X/Twitter Acc. that follows JCR Expedition)

Becca (I got pulled away so my notes are sparse here) "I'll be blowed."

Some of these Cold Boys should not have been there. (The Scientists) Elephant Island was quite the ordeal.

Clark, Hussey, Wordie, James, the Four Nations that did not live together in Harmony.

All in the Middle of the Great War.

"Nerdy and Outside the Narrative"

Meg - Cold off the Press

"You tried"

"Mr. Clark proved the faunistic richness of the coastal Antarctic Waters, but, unfortunately, all his collections were lost with the ship."

Hussey - "This Scientist is an outlier and should not be counted"

Avery S. - Oddments, Riff Raff, and Pocket Full of Rocks

Dancing on Ice Floes

Giving sea shells as gifts!

-The importance of Collecting was incredibly valuably psychologically. To collect these specimens meant that one would have to survive to deliver them. It also helped create routine

Trading Rocks for Tobacco.

“Some will tell you that you are mad, and nearly all will say, 'What is the use?' For we are a nation of shopkeepers, and no shopkeeper will look at research which will not promise him a financial return within a year. And so you will sledge nearly alone, but those with whom you sledge will not be shopkeepers: that is worth a good deal. If you march your Winter Journeys you will have your reward, so long as all you want is a penguin's egg.” - Apsley Cherry-Garrard

"When you reach out to understand the world, even scientifically, you are reaching out to understand your place in it." - Avery S (Polar Exploration Conference Terror Camp 12.10.2023)

"How McClintock Of You" - The Discord Chat

Key Notes: With Francis Spufford and Sarah Airriess

(I was very invested in the conversations so I did not write as much as I would have liked. But some critical things really stood out to me.)

The Homosocial responses/responsibilities between the men. Care-giving and demonstrating tender roles with one another. 'Unexpectedly Gendered'

Francis has not seen The Terror

The way of Knowing these people is very unique. Reading their letters and their diaries provides a particular perspective allows you to know what they really were like - more than what their fellows may have known. You see a more intimate part of these explorers through their very personal narrations through their journals and letters.

"People are clouds of possible selves." - Francis Spufford He goes on to say something along the lines of: "Which is the problem with storytelling - as a narrator of storytelling you have to decide what comes out and what fades in the background of their personality."

"You have to decide as a Narrator." - Francis Spufford

Empathy as a Tool for Understanding

(This part was incredibly important to me.)

Sarah goes on to explain (thereabouts): You have to Listen to people. They (people writing or creating a Narrative/Narration of events) look at a historical figure and get a "snap" of them. From there they decide that they know everything about them. From there, it's like Cinderella's shoe and the step-sister cutting off parts of her foot to make it fit. You need to let these people liver and breathe as a dynamic person with feelings and thoughts. You have to be truthful. Otherwise you are doing that person a disservice and shoving them into a specific box that is meant to just fit your Narrative. You should try and be empathetic to the individual you are writing about as if they are still alive.

Spufford goes on to extrapolate on that with (thereabouts): Finding out what people meant to themselves is important. Some things you want to keep at arms lengths but still play an intrinsic role in their character. Being empathetic to these people is critical to respecting and acknowledging them with care and showing them that you care about them.

"Captain Scott is a Myth"

"The Unified Field Theory of Cold Men."

"Neurotypical people don't go to the Antarctic. Normal people are not drawn to the Antarctic."

Extra Important Links:

These are just some that I have saved from the Terror Camp. There were so many more but here is a handful.

Observations on ca. 175-year old human remains from Antarctica (Cape Shirreff, Livingston Island, South Shetlands)

Cheer_Scott_expedition

Ursula K. Le Guin Books: The Wave in the Mind Dancing at the Edge of the World: Thoughts on Words, Women, Places (thriftbooks link)

An Empire of Magnetism (Global Science and the British Magnetic Survey in the Age of Imperialism) - Dr Edward J. Gillin

A Game! "To Keep the Meat"

The Popularization of Science in Nineteenth-Century America - Hyman Kuritz

"Have You Been There?" Some Thoughts on (Not) Visiting Antarctica - ADRIAN HOWKIN

The Ship that Never Was: The Greatest Escape Story Of Australian Colonial History - Adam Courtenay (Goodreads Link)

Tristian's Wordpress of Franklin Expedition Content

Francis Spufford! ⚓ Sarah Airriess ⚓

The Music Track for Terror Camp ⚓

Book Recs from Crewmate @jesslovesboats (thank you)

Thank you so much for the experience! This weekend was fantastic!

Personal Notes and Commentary

This was my first Terror Camp in its entierty. The weekend was such a delight. I had no idea what sort of experience I would be having. It was beyond my expectations. I got to learn a lot more about some of the other Expeditions that I was not as familiar with as I would have liked to be. My book list has expanded by a decent number. Getting to listen to Nive Nielsen and Paul ready was incredible. I loved everything about this experience. I cannot wait for @terrorcamp to announce the next year's event. I will certainly be attending it without a doubt. I look forwards to future projects and staying in touch with anyone else that would like to. Thank you again for such a wonderful experience! I want to give a shoutout to the people I know of the Tumblr Urls that contributed: @brainyraccoons , @jckielantern , @nopickls , @wllipt (who was a captioner), @vivtanner , @inkonfreshnewpaper - I do not know if I missed anyone. I went through the Muster Book to check out who had tumblrs. If I missed you, please let me know. I had a fantastic time. Thank you all.

With love, In heart and spirit, Second Leftenant, Wilbur

[aaronstveit]

read in 2023!

i did a reading thread last year and really enjoyed it so i am doing another one this year!! as always, you can find me on goodreads and my askbox is always open!

The Adventures of Tom Bombadil and Other Verses from the Red Book by J.R.R. Tolkien (★★★★☆)

Ninth House by Leigh Bardugo* (★★★★★)

Beowulf by Unknown, translated by Seamus Heaney (★★★★☆)

The Rise of Kyoshi by F.C. Lee (★★★★☆)

Hell Bent by Leigh Bardugo (★★★★★)

Her Body and Other Parties: Stories by Carmen Maria Machado (★★★★☆)

The Importance of Being Earnest by Oscar Wilde (★★★★★)

The Shadow of Kyoshi by F.C. Lee (★★★★☆)

The Black Flamingo by Dean Atta (★★★★★)

Nine Liars by Maureen Johnson (★★☆☆☆)

Sharks in the Rivers by Ada Limón (★★★☆☆)

Babel, Or the Necessity of Violence: An Arcane History of the Oxford Translators’ Revolution by R.F. Kuang (★★★★★)

Firekeeper’s Daughter by Angeline Boulley (★★★★★)

Paper Girls, Volume 1 by Brian K. Vaughan, Cliff Chiang, and Matt Wilson (★★★☆☆)

Paper Girls, Volume 2 by Brian K. Vaughan, Cliff Chiang, and Matt Wilson (★★★☆☆)

There Are Trans People Here by H. Melt (★★★★★)

Everyone in My Family Has Killed Someone by Benjamin Stevenson (★★★★☆)

Paper Girls, Volume 3 by Brian K. Vaughan, Cliff Chiang, and Matt Wilson (★★★☆☆)

Paper Girls, Volume 4 by Brian K. Vaughan, Cliff Chiang, and Matt Wilson (★★★☆☆)

Howl’s Moving Castle by Diana Wynne Jones (★★★★☆)

Paper Girls, Volume 5 by Brian K. Vaughan, Cliff Chiang, and Matt Wilson (★★★☆☆)

The Guest List by Lucy Foley (★★☆☆☆)

Paper Girls, Volume 6 by Brian K. Vaughan, Cliff Chiang, and Matt Wilson (★★★☆☆)

The Princess Bride by William Goldman (★★★★☆)

Care Work: Dreaming Disability Justice by Leah Lakshmi Piepzna-Samarasinha (★★★★★)

Daisy Jones and the Six by Taylor Jenkins Reid* (★★★★★)

Goldie Vance, Volume 1 by Hope Larson, Brittney Williams

Hell Followed With Us by Andrew Joseph White (★★★★☆)

The Inheritance Games by Jennifer Lynn Barnes (★★★★☆)

The Hawthorne Legacy by Jennifer Lynn Barnes (★★★☆☆)

Are Prisons Obsolete? by Angela Y. Davis (★★★★★)

The Final Gambit by Jennifer Lynn Barnes (★★★☆☆)

Who Goes There? by John W. Campbell Jr. (★★☆☆☆)

The Left Hand of Darkness by Ursula K. Le Guin (★★★★★)

Going Dark by Melissa de la Cruz (★★★☆☆)

Working 9 to 5: A Women's Movement, a Labor Union, and the Iconic Movie by Ellen Cassedy (★★★★☆)

Why Didn't They Ask Evans? by Agatha Christie (★★★★☆)

The Murder on the Links by Agatha Christie (★★★★☆)

The Waste Land and Other Poems by T.S. Eliot

The Mostly True Story of Tanner and Louise by Colleen Oakley (★★★★☆)

Hollow by Shannon Watters, Branden Boyer-White, and Berenice Nelle (★★★★☆)

Heavy Vinyl, Volume 1: Riot on the Radio by Nina Vakueva and Carly Usdin (★★★★☆)

Burn Down, Rise Up by Vincent Tirado (★★★☆☆)

Heavy Vinyl, Volume 2: Y2K-O! by Nina Vakueva and Carly Usdin (★★★★☆)

Simon vs. the Homo Sapiens Agenda by Becky Albertalli (★★★★☆)

Five Little Pigs by Agatha Christie (★★★★☆)

Malibu Rising by Taylor Jenkins Reid (★★★★★)

Last Night at the Telegraph Club by Malinda Lo (★★★★★)

The Backstagers, Vol 1: Rebels Without Applause by James Tynion IV, Rian Sygh, and Walter Baiamonte (★★★☆☆)

The Odyssey by Homer, translated by Emily Wilson (★★★★☆)

The Backstagers, Vol 2: The Show Must Go On by James Tynion IV, Rian Sygh, and Walter Baiamonte (★★★☆☆)

A Midsummer Night's Dream by William Shakespeare (★★★★☆)

Happy Place by Emily Henry (★★★★★)

After Dark with Roxie Clark by Brooke Lauren Davis (★★★☆☆)

Night of the Mannequins by Stephen Graham Jones (★★★☆☆)

Lord of the Flies by William Golding (★★★★☆)

A Little Bit Country by Brian D. Kennedy (★★★★☆)

Built From the Fire: The Epic Story of Tulsa’s Greenwood District, America’s Black Wall Street by Victor Luckerson (★★★★★)

Cheer Up!: Love and Pompoms by Crystal Frasier, Oscar O. Jupiter, and Val Wise (★★★★★)

All Out: The No-Longer-Secret Stories of Queer Teens throughout the Ages by assorted authors, edited by Saundra Mitchell (★★★★☆)

Gwen and Art Are Not in Love by Lex Croucher** (★★★★☆)

St. Juniper's Folly by Alex Crespo** (★★★★★)

The Last Girls Standing by Jennifer Dugan** (★★☆☆☆)

Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by David Grann (★★★★★)

Where Echoes Die by Courtney Gould** (★★★★☆)

Your Lonely Nights Are Over by Adam Sass** (★★★★★)

Princess Princess Ever After by Kay O’Neill (★★★☆☆)

Thieves' Gambit by Kayvion Lewis** (★★★☆☆)

The Secret Adversary by Agatha Christie (★★★★☆)

You’re Not Supposed to Die Tonight by Kalynn Bayron (★★★☆☆)

Our Wives Under the Sea by Julia Armfield (★★★★☆)

Devotions by Mary Oliver (★★★★★)

The Lightning Thief by Rick Riordan* (★★★★☆)

The Sea of Monsters by Rick Riordan* (★★★★☆)

The Titan’s Curse by Rick Riordan* (★★★★★)

The Battle of the Labyrinth by Rick Riordan (★★★★★)

The Last Olympian by Rick Riordan (★★★★★)

Suddenly a Murder by Lauren Muñoz** (★★★★☆)

The Demigod Files by Rick Riordan (★★★★☆)

Big Little Lies by Liane Moriarty (★★★★★)

All That’s Left to Say by Emery Lord (★★★★★)

The Lost Hero by Rick Riordan (★★★★☆)

Who's Afraid of Virginia Woolf? by Edward Albee (★★★☆☆)

The Son of Neptune by Rick Riordan (★★★★☆)

The Spirit Bares Its Teeth by Joseph Andrew White (★★★★★)

Hallowe’en Party by Agatha Christie (★★★★☆)

M Is for Monster by Talia Dutton (★★★★☆)

The Mark of Athena by Rick Riordan (★★★★★)

Our Shadows Have Claws: 15 Latin American Monster Stories by assorted authors, edited by Yamile Saied Méndez and Amparo Ortiz (★★★★☆)

These Fleeting Shadows by Kate Alice Marshall (★★★★☆)

Northanger Abbey by Jane Austen (★★★★★)

The Hunger Games by Suzanne Collins* (★★★★★)

The Dead Romantics by Ashley Poston (★★★★☆)

Catching Fire by Suzanne Collins* (★★★★★)

The October Country by Ray Bradbury (★★★★☆)

Hamlet by William Shakespeare (★★★★☆)

The Legend of Sleepy Hollow by Washington Irving (★★★★☆)

Mockingjay by Suzanne Collins* (★★★★★)

The Appeal by Janice Hallett (★★★★☆)

The Westing Game by Ellen Raskin (★★★★☆)

The Carrying: Poems by Ada Limón (★★★★★)

The Hundred Years’ War on Palestine: A History of Settler-Colonial Conquest and Resistance, 1917-2017 by Rashid Khalidi (★★★★★)

Born to Run by Bruce Springsteen (★★★★★)

The Ballad of Songbirds and Snakes by Suzanne Collins* (★★★★★)

Know My Name by Chanel Miller (★★★★★)

Rifqa by Mohammed El-Kurd (★★★★★)

Bloodchild and Other Stories by Octavia E. Butler (★★★★☆)

The Witch Haven by Sasha Peyton Smith* (★★★★★)

The Moving Finger by Agatha Christie (★★★★☆)

The Essential Calvin and Hobbes by Bill Watterson (★★★★★)

A Murder is Announced by Agatha Christie (★★★★☆)

The World Keeps Ending, and the World Goes On by Franny Choi (★★★★★)

The Witch Hunt by Sasha Peyton Smith (★★★★☆)

That’s Not My Name by Megan Lally** (★★★★☆)

The Princess Diarist by Carrie Fisher (★★★★☆)

The House of Hades by Rick Riordan (★★★★☆)

Dark Tales by Shirley Jackson (★★★★☆)

Pageboy by Elliot Page (★★★★★)

All This and Snoopy, Too by Charles M. Schultz (★★★★☆)

The Blood of Olympus by Rick Riordan (★★★★☆)

Murder in the Family by Cara Hunter (★★★★☆)

The Mystery Writer by Sulari Gentill** (★★☆☆☆)

Comfort Me With Apples by Catherynne M. Valente (★★★★☆)

The Deep Sky by Yume Kitasei (★★★★☆)

Spell on Wheels Vol. 1 by Kate Leth, Megan Levens, and Marissa Louise (★★★★☆)

Spell on Wheels Vol. 2: Just to Get to You by Kate Leth, Megan Levens, and Marissa Louise (★★★★☆)

Freedom is a Constant Struggle by Angela Y. Davis (★★★★☆)

Kindred by Octavia E. Butler (★★★★☆)

The Christmas Appeal by Janice Hallett (★★★★☆)

So Far So Good: Final Poems: 2014 - 2018 by Ursula K. Le Guin (★★★★☆)

Murder on the Christmas Express by Alexandra Benedict (★☆☆☆☆)

Midwinter Murder: Fireside Tales from the Queen of Mystery by Agatha Christie (★★★★☆)

Mother-Daughter Murder Night by Nina Simon (★★★★☆)

Hercule Poirot’s Christmas by Agatha Christie (★★★★☆)

Wuthering Heights by Emily Brontë (★★★★★)

The Twelve Days of Murder by Andreina Cordani (★★★★☆)

The Christmas Guest by Peter Swanson (★★★★☆)

The Sittaford Mystery by Agatha Christie (★★★★☆)

The Twenty-Ninth Year by Hala Alyan (★★★☆☆)

Christmas Presents by Lisa Unger (★★★☆☆)

Letters From Father Christmas by J.R.R. Tolkien

Bellweather Rhapsody by Kate Racculia (★★★★☆)

An asterisk (*) indicates a reread. A double asterisk (**) indicates an ARC.

[fundielicious-simblr]

Harvestfest 🌲🍁🥧

(3rd Person POV)

Harvestfest is here again, with hordes of people descending on Newcrest (and like 5 in Brindelton bay) for a weekend of extreme family time. This post will be on the 'non heir' families that spawned from gen 2, so basically everyone from Danielle down to Harley. Thanks to my new and improved character pages, you should be able to figure out who they are and what their stories are that have led them to this point. I'll be posting them in reverse order so we'll start at the bottom and work our way to the top, so the 'heir + heir-ish' families (Allan, Branden, and Claire's) will have their own posts.

●🌲🍁🥧 ●

[L-R: James Lee (16), Cara (46), and Fletcher (47) Collins; Harley (44) and Gabriel (46) Barnard; Archie (11)(Front), Grayson (44) , Keira (42), and Matthew Collins (16)]

These are the Collins and Barnard Families. They had initially planned to travel to a cabin in the woods for a scenic harvestfest weekend, but conflicting work schedules meant that they put that plan on the backburner. They gathered at Fletcher and Cara's house for their grand meal, before heading to church for the evening service.

[F] Life has found a steady rhythm for Fletcher, Cara, and James Lee, Fletcher continues to work for the Newcrest Police Department, Cara continues her work as a Head of Fundraising and Marketing for the Newcrest Conservative Party. Their son James Lee goes to a top ranking private christian high school in the district, and is enjoying spending his time at after school activities and volunteering at various church ministries.

[G] Grayson continues his work as a doctor at Newcrest General Hospital, looking after patients as well as travelling round to speak and/or attend different conferences. He also speaks at various events, usually for various pro-life organisations and at political events. His wife Keira currently works part time at Newcrest General as a nurse whilst she finishes homeschooling their youngest son Archie, who goes to a co-op. When Archie goes to high school then Keira shall resume working full time at the hospital. Matthew attends the same high school as his cousin James Lee, and the two are thick as thieves, with James Lee feeling like a brother more than a cousin.

[H] Harley and her husband Gabriel continue to live and work in San Myshuno, Gabriel continues teaching at San Myshuno Culinary Academy and Harley still works as Editor in Chief for Myshuno Madness Magazine. The couple vacation regularly to see their family as well as to visit different parts of the country and the world. They enjoy spending time with their many siblings, nieces, and nephews at various times of the year.

L-R: Ava Grace (17), Ruby Rae (19), Rory (19), Elaine (50), Taylor (51), Amelia (14), and Kyra (26) & Tyler (28) Shearer

Life continues on for the Godwin household, Amelia is now a teenager and is working her way through high school at her homeschool co-op. Ava Grace is almost done with highschool and is exploring her options for further education, she also plays on the volleyball team of the christian school that Kyra teaches at. Ruby Rae is a year into nursing school, she commutes to university so that she can save money. She hasn't decided what kind of nurse she wants to be yet, but she's firm in her desire to help people, her aunt Kiera has been helpful in the process of applying and attending nursing school. Rory is also in university

Kyra and her husband Tyler are enjoying married life, they both live and work close to both their families so they both often enough. They're working towards buying a house before expanding their family, right now they're just enjoying being married which they're very thankful for.

L-R: Sebastian (55), Danielle (53), Gabriella (16), Emma (20) & James (21)

The Hunt households are thankful for time together, with James and Emma in Henley-on-Bagley as missionaries they don't get to be together as often. Gabriella is in high school, homeschooled by Danielle, and has not begun thinking about what she wants to do next. She often helps out at her dad's vet clinic, so she considering veterinary nursing as one of her options but she's in no rush. James and Emma moved on Henley-on-Bagley to be missionaries to help grow a church there and they are enjoying their time. They spend their days sharing the Gospel to those who live in town and in the wider area, as well as assisting at church services when needed. They've not had children yet, but are open to any that the Lord will send them. Danielle continues to homeschool Gabriella, and when she's not homeschooling her then she's working on baked goods to sell at various farmers markets or working at the bakery. Sebastian continues to run his veterinary clinic, and he's recently partnered with a veterinary school and will now be training those who make it to their clinical rotations.

[phoenixlionme]

My Favorite Fictional Couples Part 21

NOTE: Be respectful of my choices; the OTPs are not ranked, just of who I thought when making this list.

1. DC Comics: Kara Kent aka Supergirl + Brainiac 5 = Superbrain

2. Spy x Family: Loid Forger + Yor Forger =Twiyor

3. DC Comics: Jon Kent aka Superboy/Superman II + Kathy Branden aka Beacon = Jathy

4. Bob’s Burgers: Bob Belcher + Linda Belcher = Bolinda

5. Bob’s Burgers: Rudy Stieblitz aka Regular-Sized Rudy + Louise Belcher = Roudise

6.  Bob’s Burgers: Zeke + Tina Belcher = Zekina

7.  Bob’s Burgers: Gene Belcher + Courtney Wheeler = Gourtney

8. Jorgeverse’s Maya and the Three: Rico the Rooster Wizard + Chimi the Skull Archer = Rimi

9. Marvel Comics: Jessica Jones + Luke Cage = Jessluke

10.  Marvel Comics: Ororo Munroe aka Storm + James Howlett/Logan aka Wolverine = Stormclaw

[ausetkmt]

Oct. 5, 2022

Suzan-Lori Parks is drawn to archways. Early on in her New York life, long before she became one of the nation’s most acclaimed playwrights, she lived above a McDonald’s on Sixth Avenue — the Golden Arches. Then she moved out by Brooklyn’s Grand Army Plaza, with its triumphal Soldiers and Sailors Memorial Arch. Now she lives in an apartment overlooking the marble monument honoring the nation’s first president at the entrance to Washington Square Park.

“It’s very symbolic,” Parks told me. “I’m always orienting myself to arches.”

Arches, of course, are gateways, portals between one world and another, and Parks is endlessly thinking about other worlds.

This season, audiences will have ample opportunity to join her.

A starry 20th-anniversary revival of “Topdog/Underdog,” her Pulitzer Prize-winning fable about two brothers, three-card monte and one troubling inheritance, is in previews on Broadway. “Sally & Tom,” a new play about Parks’s two favorite subjects, history and theater, but also about Thomas Jefferson and Sally Hemings, has just begun performances at the Guthrie Theater in Minneapolis. “Plays for the Plague Year,” Parks’s diaristic musings on the first year of the Covid-19 pandemic and a coincident string of deaths, including those of Black Americans killed by police officers, is to be presented next month at Joe’s Pub, with Parks onstage singing and starring. And “The Harder They Come,” her musical adaptation of the 1972 outlaw film with a reggae score, will be staged at the Public Theater early next year.

“I’m like a bard,” she said. “I want to sing the songs for the people, and have them remember who they are.”

At this point in her career, Parks, who in 2002 became the first African American woman to win the Pulitzer Prize in drama, is a revered figure, regularly described as one of the greatest contemporary playwrights.

“She occupies pretty hallowed air: She’s the one who walks among us,” said the playwright Branden Jacobs-Jenkins, who teaches playwriting and performance studies at Yale.

“She’s the reigning empress of the Black and weird in theater,” he said. “And she really is the most successful dramatist of the avant-garde working today.”

PARKS HAS BEEN TELLING STORIES since she was a child. She wrote songs. She tried writing a novel. There was a period when she made her own newspaper, called The Daily Daily, reporting on what she saw through a Vermont attic window. (She was born in Kentucky, and moved frequently because her father was in the military.)

While an undergraduate at Mount Holyoke, she had the good fortune to take a creative-writing class at nearby Hampshire College with James Baldwin, who suggested she try playwriting, and, even though she feared he was just trying to politely steer her away from prose, she did. “That’s what I’m doing still,” she said. “Trying theater.”

Her apartment is filled with evidence of a furiously busy creative life: shelves heaving with plastic crates containing thoughts on pending and possible projects; elements of a second novel marinating on a wallboard cloaked by a blanket; index cards in Ziploc bags; a laptop perched on a crate atop the dining table; lyric revisions in notebooks on a music stand by an ever-at-the-ready guitar. (She is a songwriter who occasionally performs with a band; this season’s four productions all feature music she wrote.)

“Writing, I think, is related to being kind of like a witch,” she said as she showed me around. “Writing is magical. I loved mythology, and folk tales, and I could hear them — old stories — not in a recording of something that somebody living in my presence had told me, but if you listen, you can hear organizational principles of nature, which includes the history of people, which is narrative.”

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So writing is listening? “Not in a passive way,” she said. “I’m on the hunt.” By this point, she was on her feet, pantomiming the stalking stance of a wild cat, preparing to pounce. “You’re being drawn toward it, and you’re reeling it in at the same time, like a fisher.”

As she talked, she kept cutting herself off, reaching for ways to differentiate her craft. “There’s a lot of writers who have ideas, and they have an agenda, and that’s cool,” she said. “I think I’m something else.”

Digging in to the question of why she writes, she became more and more expansive, reflecting on the songlines of Indigenous Australians, which connect geography and mythology.

“We have our songlines too — we just forgot them a long time ago,” she said. “They’re encoded in all the religious texts. They’re in African folk tales. They’re in the stories that your mom or your grandmother taught you. They’re there, and I can’t get them out of my head.”

“If you can hear the world singing,” she added, “it’s your job to write it down, because that’s the calling.”

PARKS IS NOW 59, and her work has been in production for 35 years. In 1989, the first time The New York Times reviewed her work, the critic Mel Gussow declared her “the year’s most promising new playwright.” In 2018, my critic colleagues at The Times declared “Topdog/Underdog” the best American play of the previous quarter century; explaining the choice, Ben Brantley, who was then the paper’s co-chief theater critic, described Parks as “a specialist in the warping weight of American history,” and declared, “Suzan-Lori Parks has emerged as the most consistently inventive, and venturesome, American dramatist working today.”

“She is a genre in and of herself,” said the playwright James Ijames, who won this year’s Pulitzer Prize in drama for “Fat Ham.” And what is that genre? “It is formally really dazzling, in terms of how she structures the play; there is humor underpinned with horror and political satire; there’s this real thread of the blues and folkways and things that are just root Black American signifiers; it’s musical, it’s whimsical, it’s playful, and it’s dangerous — all of the stuff that’s so exciting to see onstage.”

Her early plays were experimental (“opaque,” Brantley once wrote). The recent plays have been more accessible, for which Parks makes no apologies.

“People — not you, but people — when they ask that question, they’re like, ‘Oh, so now you’re selling out! You’re getting more mainstream and you’re not being true to your roots!’” she said. “Oh, no. I’m becoming more and more and more true. Trust me on this one: I’m following the spirit, no doubt. So, yeah, ‘Plays for the Plague Year’ looks like real life, cause it is. So maybe we ought to think about what am I writing about, and if I’m true to what I’m writing about.”

Reflecting her singular stature, Parks has an unusual perch from which to work: She is a writer in residence at the Public Theater, where she receives a full-time salary and benefits. At the Public, she also conducts one of her great ongoing experiments, “Watch Me Work,” a series of events, in-person before the pandemic and online now, at which anyone can work on their own writing while she works on hers, and then they talk about creativity. Early in the pandemic, Parks held such sessions online every day.

“Her great subject,” said the Public’s artistic director, Oskar Eustis, “is freedom. It’s both what she writes about, and how she writes.”

As part of her arrangement with the Public, Parks is also an arts professor at N.Y.U., which is how she wound up across from Washington Square Park, where she lives in faculty housing with her husband, Christian Konopka, and their 11-year-old son. For years, they shared one bedroom; this summer, they finally scored an upgrade, just 70 steps down the hall (their son counted), but now with a bit more space and that archward view.

She has surrounded herself with a striking number of good-luck charms: not only the pink unicorn balance board on which she stands while typing, but also a tray of unicorn plushies; James Baldwin and Frida Kahlo votive candles; a hamsa wall hanging she picked up at a flea market; milagro hearts from Mexico; Buddha, Ganesh, rabbit and turtle figurines; and a deck of tarot cards (yes, she did a basic reading for me; I drew the high priestess card). Also: she has tattooed into one arm, three times, a yoga sutra in Sanskrit that she translated as “submit your will to the will of God.” (She calls herself a “faith-based, spiritual-based person,” and is also a longtime practitioner of Ashtanga yoga, which she does every morning, after meditation and before writing.)

“All the help I can get, baby,” she said.

THE MANY ARTIFACTS on display in her apartment include a shelf set up as a shrine to Baldwin, a dollar bill Parks collected when, feeling the need to perform, she tried busking in a subway station, and a “Black Lives Matter” placard she held at protests during the summer of 2020, when she also signed the “We See You White American Theater” petition, written by an anonymous collective, calling for changes in the industry.

“Hey, I’m angry as the next Black woman,” she said. “And yet, to get through this, we need to also listen — listen to the voice of anger, listen to the voice of love, listen to the voice of wisdom, listen to the voice of history.”

She added, “Let’s not just stand around telling people that they suck. At least where I come from, that’s not a conversation, and, at least where I come from, that’s not good dialogue.”

The tone of some of the conversation around diversity in theater is clearly a concern of hers — that’s obvious in “Plays for the Plague Year,” which, in the most recent draft, contains a playlet called “The Black Police,” in which three “Black Cops” approach a “writer,” played by Parks, and say, “We’re here to talk with you about your blackness/Why you work with who you work with.”

In our interview, Parks said she was troubled by “the policing of Black people by Black people, and not just in the arts,” adding, “we have to wake up to the ways we are policing each other to our detriment.”

“No more trauma-based writing!” she said. “These are rules. And Suzan-Lori Parks does not like to be policed. Any policing cuts me off from hearing the spirit. Sometimes the spirit sings a song of trauma. I’m not supposed to extend my hand to that spirit that is hurting because it’s no longer marketable, or because I should be only extending my hand to the spirits who are singing a song of joy? That’s not how I want to conduct my artistic life.”

She also said she is troubled by how much anger, at the Public Theater and elsewhere, has been directed at white women. “Not to say that Karen doesn’t exist. Yes, yes, yes. But it’s interesting that on our mission to dismantle the patriarchy, we sure did go after a lot of white women. If you talk about it, it’s ‘You’re supporting white supremacy.’ No, I’m not. I’m supporting nuanced conversation. And I think a lot of that got lost, and lot of times we just stayed silent when the loudest voice in the room was talking, and the loudest voice in the room is not always the voice of wisdom.”

THIS SEASON, SHE’S PIVOTING back toward the stage after a stretch of film work in which she wrote the screenplay for “The United States vs. Billie Holiday,” and was a writer, showrunner and executive producer of “Genius: Aretha,” both of which were released last year.

At the start of the pandemic, she assigned herself the project that became “Plays for the Plague Year,” writing one short play each day for 13 months. The discipline was a familiar one: In 2002, after winning the Pulitzer, she began “365 Days/365 Plays,” then she did another daily playwriting exercise during the first 100 days of the Trump presidency. The pandemic play is part personal history — how the coronavirus affected Parks and her family — and part requiem for those who died during that period, from George Floyd to Parks’s first husband. The play, like much of Parks’s work, features songs she wrote. “I was moved into other states, where I wasn’t just documenting what happened that day, but I wanted to sing,” she said.

She’s got plenty still to come — she’s still polishing “The Harder They Come,” which will feature songs by Jimmy Cliff and others, including Parks, who said the story, set in Jamaica, “really captures a beautiful people in their struggle.” She’s then hoping to turn to that second novel (a first, “Getting Mother’s Body,” was published in 2003).

She is planning a screen adaptation of “Topdog,” as well as a new segment of her Civil War drama “Father Comes Home From the Wars” (so far, three parts have been staged; she said she expects to write nine or 12). Also: she’s writing the book, music and lyrics for an Afrofuturist musical, “Jubilee,” that she’s developing with Bard College; “Jubilee,” inspired by “Treemonisha,” a Scott Joplin opera that was staged on Broadway in 1975, is about a woman who establishes a new society on the site of a former plantation.

On a recent afternoon in Minneapolis, Parks settled in behind a folding table to watch a stumble-through of “Sally & Tom,” which is being developed in association with the Public, where it is expected to be staged next fall. The work, directed by Steve H. Broadnax III, is structured as a play-within-a-play — it depicts a contemporary New York theater company in the final days of rehearsing a new play about Jefferson’s relationship with Hemings, an enslaved woman. Parks has had a longtime interest in Jefferson and Hemings, and at one point had worked on a television project about the relationship that never got made; the play, she said, is not a straight historical drama, but “about how the world is made, and how we live in this country.”

The protagonist is a playwright who, like Parks, is warm but exacting, and is rewriting and restructuring the show as opening night nears. When I asked Joseph Haj, the Guthrie’s artistic director, how much he thought the play was about Parks, he at first shrugged it off, saying artists are always present in their work. After the run-through, he grabbed me to amend his remarks. “I take back everything I said,” he said. “I see her all over this.”

Kristen Ariza, who is playing the playwright as well as Hemings (the fictional playwright stars in her own play) said “the play is full of humor, until it’s not.”

“It feels so meta, because we’re doing the play, within the play, and we’re doing all these things like within the play,” she said. “She’s constantly questioning, ‘Does this fit? Is it working? Is it flowing correctly? She’s hearing our voices and adding things and making things work better as we go.”

A few days later, Parks was in Times Square, watching an invited dress rehearsal for “Topdog/Underdog.” The set is draped in a floor-to-ceiling gold-dipped American flag, meant, the director, Kenny Leon, told me, to reflect the way commerce infuses the culture.

Two actors who have enjoyed success onscreen, Corey Hawkins (“In the Heights”) and Yahya Abdul-Mateen II (“Watchmen,” “Aquaman”), play the story’s brothers, mischievously named Lincoln and Booth. They share a shabby apartment; Lincoln, fatefully, works as a Lincoln impersonator at an amusement park where patrons pretend to assassinate him, while Booth makes ends meet by shoplifting. Their relationship to each other, to truth-telling, and to their shared history is at the heart of the story.

Both actors encountered the play as undergraduates; Hawkins was a stagehand on a production at Juilliard, and Abdul-Mateen read a few scenes as Booth while at Berkeley. “It’s the first piece of material that I ever performed on a stage that I felt like was written for someone like me,” Abdul-Mateen said.

Like many people I spoke with, Abdul-Mateen was particularly struck by Parks’s ear for dialogue. “It’s as if she eavesdropped on these two characters,” he said, “and just wrote everything down as she heard it.”

Hawkins called the play “an ode to young Black men who don’t always get to live out loud.” And he is embracing that opportunity — one night, he called Parks at 2 a.m. to discuss a section of the play; she has also helped him learn the guitar, which he had not played before getting this role. “There’s something very grounding about that peace that she carries,” he said. “When she walks in the room, she carries the ancestors, the people we’re trying to honor, with her.”

Shortly after we hung up, my phone rang: Hawkins again, this time with a reverential plea. “Make us proud, man,” he said. “She’s a national treasure for us.”

[shawnjacksonsbs]

The way it's supposed to. . .

Geez. 2-10-23

"The first step toward change is awareness. The second step is acceptance." - Nathaniel Branden

Everything happens the way it's supposed to . . .right?

At least, that's what I tell myself.

Maybe it's because my notes were starting to show some biases that I do have, but, but maybe I shouldn't.

Maybe even more so, I shouldn't be including them in this project. Maybe? Or should I?

Needless to say that I lost all my notes I had in my phone when it fried out at the end of last month.

No data retrieval possible, so. . .I swallow that frustration and pity and now, I start fresh.

Maybe I'll re-read the first half of the books I'm using to fuel the startup,

"The Simple Faith of Mister Rogers" by Amy Hollingsworth and "The Age of Reason, the Complete Edition" by Thomas Paine, a founding father.

Maybe since I'm writing this note in my messenger first, I might scroll back through and see if I can find any other "lost" pieces.

This is where I am, aside from work being in full swing.

Other than losing the phone, things are going pretty well.

Although, to be fair, I feel like things are ok most of the time, like a lot of the time.

Either it's ok, or I damn sure know it will be soon enough, always.

It's not the end of the project. It's a new, new start.

I might have needed a mental regrouping. Only time will tell.

To train the brain to look forward to start over . . . That's a learned behavior I should have down cold.

Am I right? Or can I get Amem! Lolol

Anyways, that's it. I'm unloaded for the week. Thinks for thanking of me, and stopping by guys.

Be kind.

Be grateful.

Do the next right thing and share that beautiful smile of yours, along with your love and laughter with the world around you.

Until next week;

"Acceptance of what has happened is the first step to overcoming the consequences of any misfortune." - William James

[redcarpetview]

The 66th Annual GRAMMY Awards Premiere Ceremony Reveals Its Presenters And Performers Line-Up

(L-R) Burna Boy, Luke Combs and Travis Scott will perform at the 2024 GRAMMYs, airing live Sunday, February 4, at 8 p.m. ET/5 p.m. PT on the CBS Television Network.

Acclaimed songwriter/producer, activist and current GRAMMY® nominee, Justin Tranter will host the 66th Annual GRAMMY Awards Premiere Ceremony®, live from Peacock Theater in Los Angeles. Kicking off the ceremony, the opening number will feature a performance by J. Ivy, Larkin Poe, Pentatonix, Sheila E., and Jordin Sparks. Other artists scheduled to perform include current nominees Adam Blackstone, Brandy Clark, Kirk Franklin, Robert Glasper, Bob James, Laufey, Terrace Martin, and Gaby Moreno, as well as GRAMMY-nominated recording artist/drummer Harvey Mason Sr. Presenters for the first GRAMMY Awards® of the day include Patti Austin, Natalia Lafourcade, Carly Pearce, Molly Tuttle, Rufus Wainwright, and five-time GRAMMY winner and former Recording Academy® Board of Trustees Chair Jimmy Jam. Recording Academy CEO Harvey Mason jr. and Chair of the Board of Trustees Tammy Hurt will provide opening remarks. The 66th GRAMMY Awards Premiere Ceremony will stream live on Sun, Feb. 4, at 3:30 p.m. ET/12:30 p.m. PT on the Recording Academy’s YouTube channel and on live.GRAMMY.com. City National Bank, the Official Bank of the GRAMMY Awards, is returning for its second year as the presenting sponsor of the Premiere Ceremony.

      “The Premiere Ceremony is the most incredible lead-up to Music’s Biggest Night®,” said Harvey Mason jr., CEO of the Recording Academy. “With an amazing line-up of presenters and performers, we’ll reveal and    celebrate the winners of more than 80 Categories, spanning the diverse genres and crafts that have contributed to such a spectacular year in music.” 

    

Graphic Courtesy of the Recording Academy.

Most of the Premiere Ceremony performers, presenters and host are current 66th GRAMMY® nominees. Austin is nominated for Best Jazz Vocal Album (For Ella 2 Featuring Gordon Goodwin’s Big Phat Band); Blackstone is nominated for Best Jazz Performance (“Vulnerable (Live)” Featuring The Baylor Project & Russell Ferranté) and Best Jazz Instrumental Album (Legacy: The Instrumental Jawn); Clark is nominated for Best Musical Theater Album (Shucked), Best Country Solo Performance (“Buried”), Best Country Song (“Buried”), Best Americana Performance (“Dear Insecurity” Featuring Brandi Carlile), Best American Roots Song (“Dear Insecurity” Featuring Brandi Carlile), and Best Americana Album (Brandy Clark); Franklin is nominated for Best Gospel Performance/Song (“All Things”); Glasper is nominated for Best R&B Performance (“Back To Love” Featuring SiR & Alex Isley) and Best R&B Song (“Back To Love” Featuring SiR & Alex Isley); James is nominated for Best Contemporary Instrumental Album (Jazz Hands); J. Ivy is nominated for Best Spoken Word Poetry Album (The Light Inside); Lafourcade is nominated for Best Latin Rock Or Alternative Album (De Todas Las Flores); Larkin Poe is nominated for Best Contemporary Blues Album (Blood Harmony); Laufey is nominated for Best Traditional Pop Vocal Album (Bewitched); Martin is nominated for Best Progressive R&B Album (Nova with James Fauntleroy); Moreno is nominated for Best Latin Pop Album (X Mí (Vol.1)); Pearce is nominated for Best Country Duo/Group Performance (“We Don’t Fight Anymore” Featuring Chris Stapleton); Pentatonix is nominated for Best Traditional Pop Vocal Album (Holidays Around The World); Sparks is nominated for Best Contemporary Christian Music Performance/Song (“Love Me Like I Am” with for KING & COUNTRY); Tranter is nominated for Songwriter Of The Year, Non-Classical; Tuttle is nominated for Best Bluegrass Album (City Of Gold with Golden Highway); Wainwright is nominated for Best Folk Album (Folkocracy).

      The 66th GRAMMY Awards Premiere Ceremony is produced by Branden Chapman, Ruby Marchand, Chantel Sausedo, and Rex Supa on behalf of the Recording Academy. Greg V. Fera is executive producer and Cheche Alara is music producer and music director.

       The 66th Annual GRAMMY Awards® will broadcast live following the Premiere Ceremony on CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT. See here for the full list of nominees at the 66th Annual GRAMMY Awards. Learn more about how to watch the 66th Annual GRAMMY Awards. Media assets for GRAMMY season and events can be found here.  

# # #

[ao3feed-brucewayne]

The World Didn't Stand Still

by Delirious_Detritus Having recently acquired a Phantom Zone Crystal during an adventure to the planet Bgztl with her best friend Maya Ducard, Kathy Branden connects it to her portal plug in order to peek in on the Phantom Zone. However, when the portal experiences a power surge, it pulls a kid out of the Zone, a kid named Chris. A kid who claims to be the foster son of Superman. Words: 1808, Chapters: 1/?, Language: English Fandoms: Superman (Comics), Super Sons (Comics), DCU (Comics) Rating: Teen And Up Audiences Warnings: Creator Chose Not To Use Archive Warnings Categories: Gen Characters: Chris Kent, Kathy Branden, Clark Kent, Lois Lane, Jonathan Samuel Kent, Kara Zor-El, Krypto the Superdog - Character, Damian Wayne, Bruce Wayne, Maya Ducard, James "Jimmy" Olsen, Tim Drake Relationships: Chris Kent & Clark Kent, Chris Kent & Lois Lane, Chris Kent & Jonathan Samuel Kent, Chris Kent & Kathy Branden, Clark Kent/Lois Lane, Kathy Branden/Jonathan Samuel Kent (implied) Additional Tags: we do not accept artificially aged up sons of Superman here, Chris Kent Needs a Hug, Jonathan Samuel Kent is Superboy, Damian Wayne is Robin, Chris Kent is Adorable, Clark Kent is Superman, Chris Kent-centric, Canonical Child Abuse, by Zod and Ursa not Clark or Lois, Parents Clark Kent and Lois Lane via https://ift.tt/kcubXxy

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Owner Name: Branden Heath, James Eakin

Address: 230 Auburn Way South, Suite 1b #168, Auburn, WA 98002

Phone: 253-254-5106 About US:

Mindful is a company that specializes in providing holistic mental health care and psychiatric medication management. They aim to help individuals improve their overall mental well-being by combining traditional psychiatric treatments with alternative therapies such as meditation, yoga, and mindfulness practices. Their team of trained professionals work closely with each patient to create a personalized care plan that addresses their unique needs and goals. Mindful is dedicated to helping individuals live happier, healthier lives.

Keywords: Mindful therapy, Therapy, Mental health, Health, Mindful hospitality, mental health services, Healthcare system, Medication.

Company Email: mindfulprovider@gmail.com

Hours: Mon – Fri 6 am–5:30 am

[biggoldbelt]

Writer & Showrunner Branden Jacobs-Jenkins Interview | FX’s Kindred | HULU

Writer & Showrunner Branden Jacobs-Jenkins Interview | FX’s Kindred | HULU

Writer & Showrunner Branden Jacobs-Jenkins Interview by Big Gold Belt Media –Synopsis:Adapted from the celebrated novel Kindred, by Hugo Award-winner Octavia E. Butler, the FX series centers on “Dana James” (Mallori Johnson), a young Black woman and aspiring writer who has uprooted her life of familial obligation and relocated to Los Angeles, ready to claim a future that, for once, feels all her…

[rabbittstewcomics]

Episode 371

Comic Reviews:

DC

Batman: The Audio Adventures 1 by Dennis McNicholas, J. Bone, Anthony Marques, Dave Stewart

DC Horror Presents: Sgt. Rock vs. the Army of the Dead 1 by Bruce Campbell, Eduardo Risso, Kristian Rossi

Tim Drake: Robin 1 by Meghan Fitzmartin, Riley Rossmo, Lee Loughridge

Constantine: Distorted Illusions OGN by Kami Garcia, Isaac Goodhart, Ruth Redmond

Deadman Tells the Spooky Tales OGN by Franco Aureliani, Agnes Garbowska, Derek Charm, Isaac Goodhart, Christopher Uminga, Sara Richard

Wayne Family Adventures Season 2

Marvel

A.X.E.: Avengers by Kieron Gillen, Federico Vicentini, Dean White

Amazing Spider-Man 10 by Zeb Wells, Nick Dragotta, Marcio Menyz

Marvel’s Voices: Comunidades 2022 by Fabian Nicieza, Alex Segura, Carlos Hernandez, Zoraida Cordova, Hector Navarro, Edgar Delgado, Diogenes Neves, Marcelo Costa, Roge Antonio, Yasmin Flores Montanez, Luis Morocho, Paco Medina, Walden Wong, Israel Silva, Ceci de la Cruz, Manuel Puppo, Frank Williams

Marvel’s Voices: Miles Morales by Mohale Mashigo, Julian Shaw, Manuel Puppo

Dark Horse

Roadie 1 by Tim Seeley, Fran Galan

Image

Brigade Remastered by Rob Liefeld and Friends

Flawed 1 by Chuck Brown, Prenzy

Old Dog 1 by Declan Shalvey

Onyx 1 by Chris Ryall, Gabriel Rodriguez, Jay Fotos

Skybound Presents: After School 3 by Jill Blotevogel, Marley Zarcone, Lisa Sterle, Fabiana Mascolo

Boom

Briar 1 by Christopher Cantwell, German Garcia, Matheus Lopes

Mighty Morphin Power Rangers 100 by Ryan Parrott, Hendry Prasetya, Eleonora Carlini, Daniele Di Nicuolo, Marco Renna, Francesco Mortarino, Moises Hidalgo, Dan Mora, Miguel Mercado, Matt Herms, Tamra Bonvillain, Walter Baiamonte, Raul Angulo, Sara Antonellini, Sharon Marino

IDW

TMNT: The Armageddon Game 1 by Tom Waltz, Vincenzo Federici, Matt Herms

AfterShock

Hell is a Squared Circle 1 by Chris Condon, Francesco Biagini, Mark Englert

OGN

Hollow by Shannon Watters, Branden Boyer-White, Berenice Nelle

Forest Hills Bootleg Society by Dave Baker, Nicole Goux

Ghoster Heights by Corey Lansdell, Kelly Mellings, Lisa LaRose

Pick Head: Bayoo Beasties by Frederic Brremaud, Giobanni Rigano

Steeple vol 3 by John Allison

Ray’s OGN Corner: Speak Up by Rebecca Burges

Additional Reviews: Andor 4, Lumberjanes HC Vol 1, She-Hulk, Door to Door, Night to Night, Hocus Pocus 2, Last Avenger arc of Captain Marvel

Longbox of Horror 2022 part 1: Trouble

News: new Kelly Thompson series from Image, Armor Wars now a movie, AfterShock upheaval, Community movie, new Blade movie writer, Figment movie in development

Trailers: My Father’s Dragon

Comics Countdown:

Superman: Space Age 2 by Mark Russell, Mike Allred, Laura Allred

Hollow GN by Shannon Watters, Branden Boyer-White, Berenice Nelle

Steeple Vol 3 by John Allison

Human Target 7 by Tom King, Greg Smallwood

Nice House on the Lake 10 by James Tynion IV, Alvaro Martinez Bueno, Jordie Bellaire

TMNT: Armageddon Game 1 by Tom Waltz, Vincenzo Federici, Matt Herms

Department of Truth 21 by James Tynion IV, Martin Simmonds

Eight Billion Genies 5 by Charles Soule, Ryan Browne, Kevin Knipstein

Grim 5 by Stephanie Phillips, Flaviano, Rico Renzi

Ant-Man 3 by Al Ewing, Tom Reilly, Jordie Bellaire

  Check out this episode!

[viralnews-1]

Octavia E. Butler TV Adaptation Sets December Release Date

Octavia E. Butler TV Adaptation Sets December Release Date

Kindred, the TV adaptation of Octavia E. Butler‘s influential and most celebrated 1979 novel will premiere exclusively on Hulu on December 13. The new drama series will include eight episodes helmed by Watchmen alum Branden Jacobs-Jenkins, with Mallori Johnson playing the lead role of Dana James. The television series will shortly become accessible on Star+ in Latin America and Disney+ in all…

[lovelyballetandmore]

Branden James Hutchinson