#gifted article

[chavisory]

"In the late 20th century, Laber was not the only German artist exploring time’s reach across generations. From 1982 to 1987, the artist Joseph Beuys planted thousands of oak trees in the city of Kassel, central Germany, for a work called '7,000 Oaks.' And in 1996, the sculptor Bogomir Ecker created 'Tropfsteinmaschine,' an artificial stalactite dripping for 500 years in the Hamburger Kunsthalle museum, in Hamburg.

"Since then, several other long-term art projects have begun across Europe and beyond. A few of their custodians attended the ceremony on Saturday: They included the overseer of a musical performance in Halberstadt, Germany, that will last 639 years; of a poem that is unfolding over centuries on the cobblestones of a Dutch city’s streets; of an annual pilgrimage to maintain a Bronze Age chalk horse on a hillside in Oxfordshire, England; and of a giant clock in Texas that will tick for 10 millenniums."

[bibuckagenda]

I think it’s time to consider that the “family feud outed Eddie” joke is no longer a joke

[brokehorrorfan]

6 Things I Learned from the Lisa Frankenstein Commentary

We don’t get movies like Lisa Franeknstein often, which is a shame because it’s endlessly charming yet delightfully twisted. While it disappointed at the box office, it has "cult classic" written all over it.

The coming-of-age horror-comedy is out today on Blu-ray and DVD. Among the special features is an audio commentary by Zelda Williams. Here are 6 things I learned…

1. Catch Me If You Can inspired the opening credit sequence.

The opening credit sequence, which briefly depicts the Creature's love story from his previous life in the style of Victorian shadow box art, was inspired by Catch Me If You Can.

"We wanted to do something interesting with the credits in this bit. I was really inspired by Catch Me If You Can, which I thought the opening credits were particularly interesting and helped establish the story before we ever got to it. And because Creature doesn't speak this whole movie, I wanted an opportunity to show what his life would have been like."

2. The film was originally intended to be rated R.

Although Lisa Frankenstein pushes the PG-13 rating as far as it can go, it was originally intended to be a hard R. Williams cites the party scene, in which Lisa originally smoked a laced joint rather than drinking a PCP cocktail, as a difficult revision.

"This is where stuff got a little complicated when we were going from R-rated to PG-13. Originally there was a coated joint they were passing around. This is one of the only scenes that I'm not sure I'm as fond of in comparison to the joint stuff. Most of the rest of the changes were fine, but this one I find very strange. It's just a very different reaction and interaction than what used to be there. However, these are the things that happen when making a movie."

3. Creature is an homage to Day of the Dead's Bub.

Not only Lisa is seen watching George A. Romero's Day of the Dead in the film, but the Creature is an homage to its iconic zombie, Bub.

"Creature for me is definitely an homage to Buster Keaton, but he's also an homage to the zombie you just saw on screen, Bub, who was in Day of the Dead, a Romero movie that I'm very fond of. It was an incredibly emotive and a very intelligent zombie and ended up getting revenge against the asshole in the movie. It was one of my favorite monsters ever made, so when I could put that on screen during the movie, it made me very happy."

4. Zelda hid a tribute to her father, Robin Williams.

Williams is the daughter of Robin Williams, and she included his 1983 comedy album, Throbbing Python of Love, among the records scattered on the floor in Lisa's living room.

"Oh, there's Dad! We used one of Dad's vinyl albums because we had to scatter some across the floor." She refers to it as "a little, mini Easter Egg for me."

5. The police officers are named after John Waters.

The police officers in the film are Officer John (played by Walker Babington) and Officer Waters (Sylvia Grace Crim) — named on a whim in honor of cult filmmaker, John Waters.

"They asked me to name the cops, because obviously they needed to have name tags, so I named them Officer John and Officer Waters." She thought no one would notice since they're so small, but a viewer pointed it out at a test screening.

6. The film is sprinkled with movie references.

Williams wore her influences on her sleeve with her directorial debut, and she pointed out several references on the commentary:

A Trip to the Moon (clip featured in Lisa's surreal dream sequence)

The Cabinet of Dr. Caligari (stylistic inspiration on the dream sequence)

Weird Science (the party scene)

Suspiria (red lighting during drug sequence)

My Boyfriend's Back (camera shot from inside a grave looking up at characters)

Kill Bill (weapon point-of-view shot)

E.T. (a boy on a bike — played by Diablo Cody's son — at the end)

Notting Hill (reading together on a bench at the end)

Lisa Frankenstein is available now on Blu-ray, DVD, and Digital via Universal.

[skitskatdacat63]

Fernando Alonso & His Relationship With Cards

I'm sure we're all familar with the cards on the back of Fernando's Vegas GP helmet by now, but did you know his relationship with cards goes a lot deeper?

I. Magic Tricks

You've probably seen or heard someone at least mention Fernando's propensity for card tricks. As far as I can tell he was doing them(publically) as far back as 2003 all the way to as recently as 2018. Even once performing a card trick, with a condom and a teddy bear(!??!?!??!!), in front of Valentino Rossi who said "How was that possible?"(x)

But how did this start? According to James Allen, "Fernando admits to having been heavily influenced by his grandfather, a mercurial figure, who taught him magic and card tricks, still one of his passions away from the race track."(x) And I'm not sure the validity of this one, because I couldn't find an actual source, but apparently he once said: "My parents are responsible for the two things I like doing most - driving and magic tricks. They bought me my first go-kart and a magician's kit."

In several interviews he described it as his hobby off track, and that he loved learning new tricks and surprising others in the garage with them! So clearly cards are pretty important to him both as a hobby but also to who he is as a person since they've been with him just as long as racing has.

II. Card Symbolism in His Helmets

This is the reason I originally made this post, but I thought I should also explain the origins of his card fascination first. As I said, we probably all remember the cards on the back of his helmet in Vegas, but did you know that wasn't the first time he had cards on the back of his helmet?

From 2008-2013, he used to have a pair of cards on the back of his helmets. The symbolisms of the cards themselves as well as the evolution of their design is really fascinating to me! Even more so with the recent development of the card choice in 2023.

Fernando said he wanted to reference his two titles in some way on the back of his helmet and after his friend sent him several ideas, he decided on having two cards(an ace of clubs and an ace of hearts, sometimes pictured with 05 and 06 on them as well), saying: "I picked the cloverleaf [the ace of clubs - Ed] to give me luck, but the only pity is that it doesn't have four leaves!"(X)

2008.

Here's the very first appearance of the cards! They're displayed flat, with the 05 and 06 clearly visible

2009.

Very similar to 2008, but with a slightly different design, and they're maybe a bit more straight with less shadow?

2010.

This is the first major change! I was sad they didn't have the years on them anymore, but then I realized they're sparkly to match with his signature lightning bolts on the top of the helmet!!

2011.

Honestly I'm still somewhat unsure if this is the actual 2011 helmet? It's pretty difficult to find clear photos of the back of helmets from older seasons. It's easiest to find them on replica sites or auction sites so I'm not 100%? But anyways, I like that this has the championship years on the underside of the cards

2012.

This is when I started getting weirdly emotional about the helmets. Do you see how they've progressed from being a centerpoint to being curled up and sad at the bottom of the helmet? Not listing the year anymore??

2013.

Same thoughts as 2012. And after this season, they cease to exist (just like his ferrari chair in the garage, WOAH CALLBACK), until cards make a reeappearance in his Vegas helmet, albeit in a different form

2013 Monaco(Honorable Mention):

For some reason 2013 helmets were easier to find proper pictures of, so I happened to witness this absolute beauty. The creativity of this helmet genuinely blows me away??? Wanting to keep the card motif, but making sure to incorporate it into the rest of the puzzle piece design?? Mwah! There was another special 2013 helmet but they didn't change the cards at all so I really applaud this one

2023 Las Vegas(The Return of The King):

The magnificent return! But look! The cards are different cards! Instead of being two aces, it's now an ace of hearts, a four of hearts(his driver number of course!) and, the, now iconic, representation of himself as a Joker. I literally could not believe my eyes when this helmet was released and I saw the Joker card, what a fucking silly old man....I really wonder if he felt nostalgic having cards on his helmet again or if he didn't think about it all and was just like, "ah cards because Vegas!!!"

III. Why Does This Matter?

*The rest of the post was factual, this is moreso my personal thoughts on the symbolism of the cards/designs

This post spawned from me recently watching the 2010 Bahrain gp and noticing "hey wait a minute...are those CARDS ON THE BACK OF HIS HELMET!?" It's a really tiny detail that's unfortunately covered up by the HANS device pretty much whenever he's wearing the helmet, so it's really difficult to spot! But I became fascinated with the fact that he had cards on his helmet before that recent helmet, and now here we are!

There's something to me about how the design of the cards evolves over the course of six seasons from the cards being front and center to being smaller, more folded up and closer to the bottom of the helmet. As I said, the 2012-2013 ones genuinely made me depressed because it feels, symbolically, like his hopes for getting another Ace are becoming more and more unlikely and falling away until they eventually fall falt and fade away entirely after 2013 and disappear for basically a decade.

But when they return? They're not the same cards! Instead of representing Fernando's championships, they now represent him as a person, displaying his driver number and his persona of being a Joker!! Though I do think it's interesting he happened to keep the Ace of Hearts, even though he talked more about the Ace of Clubs before. I'm not sure it's actually this deep in reality, but I like to think that it's him not letting his championships(and the lack thereof) define him, but rather letting who he is as a person shine and be the centerpoint instead! But on a sadder note, as @suzuki-ecstar said to me, maybe the Aces aren't there anymore because he's lost all hope for a chance at a third Ace entirely :(

[contemplatingoutlander]

This is an excellent NY Times interactive article, so the above link is a gift 🎁 link so anyone can read the entire article, even if they don't subscribe to the NY Times. Here are some excerpts.

Upending the outcome of a free and fair presidential election is no minor endeavor. It requires time, energy, money and, especially, an awful lot of people willing to do the wrong thing — or at least go along with it. The network of people who allegedly helped Donald Trump try, without success, to stay in power more than two and a half years ago may seem hopelessly chaotic, but there was a method to the madness. American elections are, by design, entrusted to the states and therefore decentralized. To meddle in them requires national masterminds working hand in glove with plotters at the state and local levels — a tangle of conspirators, enablers and indulgent bystanders as messy and sprawling as our democracy itself. And while it can be tempting to downplay or dismiss the entire nightmare as the pathetic machinations of crackpots and fringe figures or even to wave it off as ancient history, that would be a mistake. Those who worked to overturn the 2020 election are the same kinds of people and groups Mr. Trump would surely surround himself with if elected to a second term: unscrupulous or timid federal and state officials, ethically flexible lawyers and Republican yes men and women. Except that in 2025 those figures would have a better sense of how to dismantle the guardrails that once stood in their way and how to exploit the fault lines and weaknesses in our electoral process. [emphasis added]

Below is the final graphic in the article that shows all the people connected with Trump's coup attempt, including some who refused to go along with it:

This interactive article is well worth reading, and I invite you to use the above gift link to do so.

______________ The text of this article is by Michelle Cottle; the graphics are by Taylor Maggiacomo and Norman Eisen.

[firenati0n]

several sentence sunday <3 :)

hello! :) hope everyone is having a good weekend! <3 thank you for the tags @suseagull04 @kiwiana-writes @eusuntgratie @dumbpeachjuice @nocoastposts @cha-melodius @ninzied @msmarvelouswinchester @leojfitz love y'all

here's a snip from the proposal au titled "the full spectrum of human emotion" which required some...research on roop's part. enjoy lol:

Alex swings one leg around to straddle Henry, one hand holding onto the chair, another resting on Henry’s shoulder. His hips do a slow, dirty grind on a very stressed Henry, taking on a life of their own. Alex is feeling wholly possessed by the horny ghost of cowboy Matthew McConaughey from Magic Mike, a series he felt compelled to revisit after his late-stage bisexual awakening. He tries to focus on the beat of the music, the warmth of Henry’s chest as Alex sways up and down. The bass line of “Pony” has nothing on the thudding of his heart roaring in his ears.  Henry's face tips back as he takes in Alex in his current state—sweaty, gyrating, focused. His eyes close, but not before Alex sees his pupils blown out, only a ring of blue visible. Alex offers up a prayer of gratitude to Steven Soderbergh for giving him a series of movies that is directly responsible for the very delicious position he's in right now. As a self-respecting cowboy, he isn't planning on looking a gift horse in the mouth. Or a gift pony, he should say. 

xoxo roop

coming soon to an ao3 near you :)

+ no pressure tags under the cut:

@getmehighonmagic @tintagel-or-cockleshells @priincebutt @cricketnationrise @sherryvalli @dumbpeachjuice @littlemisskittentoes @ssmtskw @tailsbeth-writes @lizzie-bennetdarcy @songliili @wordsofhoneydew @heybuddy-drabbles @happiness-of-the-pursuit @bigassbowlingballhead @anincompletelist @inexplicablymine @myheartalivewrites @sparklepocalypse @onward--upward @user-anakin @matherines @celeritas2997 @gayrootvegetable @affectionatelyrs @tinyarmedtrex @hgejfmw-hgejhsf @14carrotghoul @orchidscript @rmd-writes @dustratcentral @magicandarchery @leaves-of-laurelin @whimsymanaged @tintagel-or-cockleshells @zwiazdziarka @indomitable-love @anchoredarchangel @theprinceandagcd @gay-flyboys @read-and-write-

[sargeantposting]

ARTICLE: The Florida Man of Formula 1 (2023)

Source: Michael M. Grynbaum, The New York Times Series: F1, 2023

Logan Sargeant, the only American driver in Formula 1, is zipping around the narrow streets of Baku, Azerbaijan, at roughly 200 miles an hour. His head bounces inside the cockpit as a wheel shudders over a rumble strip. It’s hard to hear over the banshee shriek of his V6 engine, carrying three times the horsepower of a run-of-the-mill Porsche Carrera.

Then the noise stops, and Baku vanishes. We’re inside a low-slung brick building nestled in the Oxfordshire countryside. The track, projected onto a CinemaScope-sized wraparound screen, was a mirage, part of a sophisticated training simulator. (F1 rules prohibit driving the real cars between races.) Mr. Sargeant climbs out of a replica driver’s seat wearing athletic pants. He won’t need a fireproof suit until later.

In three weeks’ time, Mr. Sargeant will do this for real: wind whipping his visor, G-forces of up to six times his body weight pressing on his neck, the ever-present threat of a catastrophic crash as he is watched by roughly 70 million people around the world. For now, it’s time for lunch. “Is chili bad for you?” he asks, digging into a bowl at his team’s commissary. “I don’t think it’s that bad.”

Williams Racing, in Grove, England. It was founded in Oxfordshire in the 1970s, but it’s now an American subsidiary: a Manhattan private equity firm, Dorilton Capital, bought the company in 2020 for an estimated $200 million.

F1 teams employ hundreds of employees and spend hundreds of millions of dollars developing the world’s most sophisticated racecars.

Reaching Formula 1, the highest level of international motor sport, is a big step for Mr. Sargeant, 22, a South Florida native who began racing rudimentary cars known as karts at 6 years old and this year joined the Williams Racing team as the first full-time American F1 driver since 2007.

For Formula 1 itself, finding a hometown hero for American fans is a giant leap.

Although it is enormously popular in Europe, F1 struggled for decades to break into the United States. That began to change in 2016, when the sport was purchased for $4.4 billion by the Colorado-based Liberty Media, owned by the cable magnate John Malone. Liberty ramped up its social media — F1 had barely kept a YouTube page — and backed a popular Netflix documentary series, “Drive to Survive.” Once geared toward aging white men, F1 now has a younger and more diverse fan base. American TV viewership is up 220 percent from 2018, and the sport made $2.6 billion in revenue last year.

Still, a subset of F1 devotees complain about what they see as an overemphasis on entertainment and ginned-up drama. Under Liberty, they argue, pure racing is taking a back seat to cheap tricks to reel in casual viewers. And they often use a dirty word for it: Americanization. “It is becoming more and more like Formula Hollywood,” Bernie Ecclestone, the 92-year-old Briton who built F1 into a global business, griped last year. “F1 is being made more and more for the American market.”

The backlash reached a crescendo at last week’s Miami Grand Prix, which was added in 2022 as a showpiece for American fans. In a prizefight-style pre-race ceremony, the rapper LL Cool J introduced the 20 drivers one by one amid swirling smoke and a squad of cheerleaders. Nearby, Will.i.am conducted a live orchestra playing the rap song he recently recorded with Lil Wayne as part of a “global music collaboration” with Formula 1. (The lyrics rhyme “Max Verstappen,” the name of the sport’s top driver, with “your champion.”)

“Pandering to the American audience is killing @F1,” wrote one fan on Twitter, echoing criticism that bubbled up across numerous F1 websites. Even the racers complained: “None of the drivers like it,” groused Lando Norris, a Briton who drives for McLaren. Undeterred, Liberty announced that the bombastic pre-race sequence would be featured at several more grands prix this year.

In the United States, F1 has long been associated with a certain European mystique, most famously, the louche glamour of the Monaco Grand Prix.

In the United States, F1 has long been associated with a certain European mystique. Its drivers race across the Ardennes forest (Circuit de Spa-Francorchamps in Belgium), the plains of Lombardy (Italy’s Autodromo Nazionale di Monza) and, most famously, the louche glamour of the Monaco Grand Prix. The sport’s stateside image could be summed up by the 2006 comedy, “Talladega Nights: The Ballad of Ricky Bobby,” which featured Sacha Baron Cohen as a pretentious French F1 driver named Jean Girard, a snooty Eurotrash foil to Will Ferrell’s macho NASCAR cowboy.

In 2023, F1 can feel a bit more Ricky Bobby than Jean Girard. In Miami, drivers circled a track built in the parking lot of the Dolphins football stadium, past an artificial Monaco-style “harbor”: blue-painted asphalt topped with ersatz yachts. A new Las Vegas race in November will have cars zooming down the Strip past Caesars Palace. Meanwhile, traditional races in France and Germany are gone.

Katy Fairman, a journalist based in Brighton, England, who runs the F1 podcast “Small Torque,” said she was surprised by the spectacle when she attended a race in Austin, Texas. “There were girls with pompoms,” she said. “I remember watching it and thinking, Oh my gosh, this is so different from anything I’d seen F1 do in a long time.”

Ms. Fairman conceded that some Europeans find the American hullabaloo “tacky.” But she added: “When it’s something to do with America, I think Europeans are quite judgmental. I think it’s just a bit of lighthearted fun. You guys like to have a party.”

The arrival of Mr. Sargeant, who grew up about an hour’s drive from the Miami racetrack, has spurred new interest, including a profile and photo shoot in GQ, and he’s happy to play the part. “What’s up America, let’s bring that energy!” he shouted to the cameras after LL Cool J introduced him as “the local boy done good.”

But as with F1, there are growing pains. In Miami, Mr. Sargeant finished last, his race ruined on the first lap when he damaged a front wing. After the checkered flag, he apologized to his team, his voice barely a whisper: “I’m so sorry. I can’t believe it.”

Weeks earlier, in an interview in England, Mr. Sargeant had demurred about the pressure of wearing the stars and stripes. “I try not to get too caught up in the talk of the role of ‘first American,’” he said. “It’s still very early for me, and I have a lot to learn still.”

If Mr. Sargeant doesn’t perform, there are dozens of drivers eager to take his spot. “At the moment,” he said, “I just have to worry about staying here.”

For a globe-trotting athlete, Mr. Sargeant can be soft-spoken and endearingly self-conscious. 

‘I just want to get back in the gym.’

Before his tough Miami weekend, Mr. Sargeant was asked how he would celebrate a top 10 finish. “Honestly, it might sound lame, but probably just go back to my house and get in my bed for another night before I go back to London,” he replied. “That’s all I want to do.”

For a wealthy, handsome, globe-trotting athlete, Mr. Sargeant can be soft-spoken and endearingly self-conscious. It’s not unusual for someone who, like a tennis prodigy or Olympian gymnast, has devoted their life since childhood to a sole pursuit.

Mr. Sargeant was 6 when he and his brother Dalton got a kart from their parents for Christmas. “No one in the family was really even that much into racing,” Logan said. “We just picked it up as a hobby, something to do on the weekend.” He began winning junior races around the country — too easily. To reach the next level and pursue Formula 1, he’d have to leave behind his friends and beloved fishing excursions for life on a different continent: “We just needed a higher level of competition, and at the end of the day, that was in Europe.”

Mr. Sargeant left Florida before his 13th birthday, bouncing between Italy, Switzerland and Britain as he raced on the European junior circuit; in 2015, he became the first American to win the Karting World Championship since 1978. “As a kid, it was tough,” he recalled. “Coming from Florida, being outdoors all the time on the water, great weather — it was literally vice versa.” He eventually settled in London, where he spends most days working out with a trainer. “I get away from a race weekend, and I just want to get back in the gym,” he said. “I hate that feeling of leaving slack on the table.”

It is incredibly difficult to nab a seat in Formula 1. Today’s drivers are physical dynamos trained to optimize their reflexes and performance levels down to how well they can withstand jet lag — critical in a sport that this year will include 23 grands prix spread over five continents. F1 teams employ hundreds of employees and spend hundreds of millions of dollars developing the world’s most sophisticated racecars. But it’s ultimately up to the driver to execute.

It also helps to have money. Lewis Hamilton, the seven-time world champion and F1’s only Black driver, is an exception, having grown up on a London council estate. Many F1 competitors are the sons of multimillionaires (and some billionaires) who can bankroll pricey travel and high-tech cars.

Mr. Sargeant falls into the scion category. He hails from a wealthy Florida asphalt shipping family. His uncle, Harry Sargeant III, is a former fighter pilot and onetime finance chair of Florida’s Republican Party who has been sued by the brother-in-law of King Abdullah II of Jordan and whose name turned up, tangentially, in the 2020 impeachment of former President Donald J. Trump. (Harry was not accused of any wrongdoing.)

Logan’s father, Daniel Sargeant, worked alongside Harry until the brothers had a falling out. In a 2013 lawsuit, Harry accused Daniel of misdirecting $6.5 million in corporate funds “for the purpose of advancing the international cart racing activities” of his sons, Logan and Dalton; that litigation was eventually settled.

In 2019, Daniel Sargeant pleaded guilty in federal court in New York to foreign bribery and money laundering charges related to his business dealings abroad. He is free on a $5 million bond and is awaiting sentencing. A Williams spokesman said that Logan Sargeant was not “in a position to comment” on any of the legal matters involving his family.

In F1, none of this particularly stands out. The mother of Mr. Sargeant’s Williams teammate, Alexander Albon, was jailed in Britain for swindling millions of pounds in fraudulent sales of high-end cars. A Russian racer, Nikita Mazepin, was booted from the sport after his oligarch father, a close ally of President Vladimir V. Putin, was sanctioned following the 2022 invasion of Ukraine.

James Vowles, the Williams team principal, said in an interview that he hired Mr. Sargeant for his speed, not his U.S. passport. “I’m incredibly pleased that the sport is growing in America, but I think it would be anything but disingenuous to say that Logan’s here for any other reason than I think he’s got this pure talent,” he said.

In his F1 debut in Bahrain in March, Mr. Sargeant finished 12th, outpacing this year’s two other rookies. “He has this insatiable desire to be better, to want more,” Mr. Vowles said. “He’s a perfectionist, and I like that in him.”

Tooting around in a Vauxhall Astra

Britain, where Formula 1 originated in 1950, remains the sport’s spiritual home, where most of its 10 teams are based. Williams was founded in Oxfordshire in the 1970s, but it’s now an American subsidiary: a Manhattan private equity firm, Dorilton Capital, bought the company in 2020 for an estimated $200 million.

It was an important cash infusion for a team that had struggled to keep up with rivals. Manufacturers like Mercedes-Benz pour enormous resources into their F1 teams, which double as an elaborate global marketing campaign and an in-house innovation farm; tech developed for F1, like engines that recycle braking energy as an accelerant, can trickle into consumer vehicles.

Formula 1 car simulators at the Williams Racing factory.

Formula 1 drivers practice on sophisticated training simulators.

The Williams campus is a humdrum brick pile that could be mistaken for an office park — a far cry from McLaren’s space-age complex an hour’s drive away. Many F1 teams provide their drivers with a high-end sports car for personal use; Mr. Sargeant commutes in a Vauxhall Astra, a compact.

Even the team’s sponsors are relatively down-market; whereas the official watch of Ferrari is Richard Mille (starting price: $60,000), Williams has a deal with Bremont, whose timepieces retail for significantly less. (On a recent visit, a Williams press aide was quick to extract a spare Bremont watch from his pocket and ensure Mr. Sargeant was wearing it whenever a photographer hovered.)

Given the huge costs, corporate partnerships are crucial to F1, part of the reason the American market, with its abundance of affluent consumers and wealthy brands, has proved so tempting. Gerald Donaldson, a journalist who has covered F1 for 45 years, recalled how cars were gradually taken over by corporate logos starting in the late 1960s.

“Marlboro paid all the Ferrari bills, including the drivers, for many years,” he said in an interview. “There are eager companies who want the publicity.” Mr. Sargeant’s car features ads for Michelob Ultra beer and an American financial firm, Stephens. In Miami last weekend, beachgoers spotted an airborne banner reading “Go Logan!” alongside the image of a Duracell battery.

Last year, the Miami race was viewed on ABC by 2.6 million people, the biggest American audience for a live F1 telecast. Ratings for this year’s race fell about 25 percent, perhaps a result of a duller-than-usual season dominated by one team, Red Bull.

Still, viewing data show that F1 is expanding beyond affluent cities associated with elite sports: In 2022, its top five American TV markets included Asheville, N.C., and Tulsa, Okla. ESPN is clearly betting on more growth. When the sports network renewed its broadcast rights last year, it agreed to pay $90 million annually — up from the $5 million-a-year deal it signed in 2019.

Liam Parker, a former adviser to Boris Johnson who now leads communications at F1, said the sport was intent on rectifying past mistakes. “We were too arrogant,” he said. “We couldn’t understand why the American fan base wasn’t falling in love with us.” But he also pushed back on the complaints that Liberty’s efforts to raise the entertainment factor had stripped F1 of something essential.

“This whole argument of ‘Americanization,’ it’s a very crude way to describe things,” he said. “We shouldn’t ignore things that can improve things for new and core fans. It’s about giving people more choices in the modern era. It’s modernization of access to everyone.”

Mr. Hamilton, arguably the biggest celebrity of the current F1 lineup, has offered his own endorsement of Liberty’s approach. “I mean jeez, I grew up listening to LL Cool J,” he told reporters in Miami. “I thought it was cool, wasn’t an issue to me.”

For all the debates over elitism, good taste and corporate rap collaborations, the core appeal of F1, when you get right down to it, may be something simpler — something Mr. Sargeant got at when asked in the interview if he had loved cars as a kid.

“I absolutely love driving, as you can imagine,” he said. “But to be honest, I’m not one of those people who studies cars and, you know, likes to know every detail of every single car. It doesn’t really interest me.”

“The part that interests me,” he concluded, “is driving them as fast as I can go.”

Eliza Shapiro contributed reporting from Miami. Kitty Bennett contributed research. Michael M. Grynbaum is a media correspondent covering the intersection of business, culture and politics.  A version of this article appears in print on May 14, 2023, Section BU, Page 1 of the New York edition with the headline: The Florida Man Of Formula 1.

[buckttommy]

I hope ABC continues to let Ryan do press because he is the most insightful and articulate cast member. I'm always blown away by his comments

i just. oh my god, okay. let me try to, like, wrangle my thoughts together. sorry. you did not ask for Anything i'm about to say (i agree with you, btw) but i'm in my feelings so here we go because, like. like.

he is. so beautiful to me. so thoughtful, so insightful, so, like. you know how we say that, like, when we're contemplating our blorbos, we're rotating them in our heads like a rotisserie chicken? that's what hedoes. you can so clearly see that he takes so much time, and attention, and care with eddie diaz, and who he is, and how he thinks, and it makes me so, like. i am literally tearing up (again!) as i type this. because he is so emotional, and so full of depth and awareness and gentleness. eddie diaz is who he is, in so many more ways than we realize, because of who ryan is. and i just love to read his words and hear him talk and listen to him probe the depths of this character that we ALL (him included) love so much. it's so, like. i remember years ago, we'd laugh because his Hypermasculine social media persona was so incongruent to who/how eddie is, we were like "how the fuck does this guy make that guy happen?" but overtime, he's allowed us the honor of seeing more and more of himself, and he's just. he's so soft, and he's so genuine, and so sincere and i can so, so fucking clearly see how ryan makes eddie work. he's precise in his thinking and curious and hungry to make the things that don't make sense, make sense, and i'm just so. i'm so fucking grateful for this opportunity to peak inside his head, and hear his thoughts, and really, like, bask in the love and care he has for this character that means so much to me.

seven seasons in, it would make sense for him to have so many conflicting or negative thoughts about this character and the choices he makes. i've seen it happen before where actors become... encumbered by their characters' existences rather than remaining in the joy of keeping them "alive." but ryan loves eddie as much now as he did the day he was created, if not more. and as someone who loves eddie, and as someone whose healing journey has (in part) been shaped by and tied to eddie's, it's very... i don't want to say healing... but, like, comforting to know that this character - this character who is so much ME in so many different ways - is treated with such great love and respect. like. god. i can't even describe how many of my favorite characters have been shafted by the writers and/or the showrunners, leading to an absolute apathy in the actors themselves. but this is the first time where a favorite character of mine has been Treasured by all people responsible for their existence and i'm just. so grateful. to everyone, but to ryan especially because he's the one who brings him to life. i'm just. yeah. yeah. no parasocialism but i just want to reach through the screen and thank him and maybe get tears and snot all over his clean shirt because what the hell, he made me cry, dammit!!!!

[rustbeltjessie]

When I heard the news on Thursday that Shane MacGowan had died, I thought of Sinead O’Connor, his longtime friend and collaborator. I played their duet from 1995, “Haunted,” which MacGowan had originally written for the “Sid and Nancy” soundtrack. Then I watched their joint interview promoting the song for the Irish talk show “Kenny Live.”

MacGowan appeared standoffish behind black sunglasses, a lit cigarette resting between his fingers. O’Connor was perched at his side in a big sweater, fiddling with her short hair and smiling slyly at her friend. The host, Pat Kenny, called the collaboration “strange and unlikely,” but they did not see it that way. “We’re different sexes, yeah,” MacGowan said, to which O’Connor replied: “Are we?”

[elizabethactual]

"Hahn’s hallmarks, however, make every performance memorable – especially when it comes to playing desire, double meaning, or simply interest. In her smaller roles she deifies her top-billed acting partners through an unblinking stare of naked fascination, and in doing so garners her own attention. In her own vehicles, she finds about a dozen different ways to want - sometimes shamelessly, and sometimes with a simmering guilt that lies just beneath the surface of whatever she’s actually saying."

Bonus delightful Agatha Harkness description:

"Hahn plays the ancient witch/chameleonic sitcom suburbanite with a glee that combines over-the-top comedic roots and a knowing, withholding sadism that she is the only character in this godforsaken Puritanical world that fucks."

[brokehorrorfan]

4K Ultra HD Review: Basket Case

Unlike most "prestigious" organizations dedicated to the arts (I'm looking at you, Academy of Motion Picture Arts and Sciences), the Museum of Modern Art doesn't ignore the existence of genre fare. Nevertheless, there's something surreal about seeing "This film is from the collections of The Museum of Modern Art" at the start of Basket Case, a sleazy exploitation picture shot on 16mm over the course of a year for under $35,000.

The 1982 film follows Duane Bradley (Kevin VanHentenryck), who carries around his formerly-conjoined twin brother, a deformed, fleshy menace named Belial, in a wicker basket. While Duane intends to get revenge on the medical professionals who performed their unwanted separation surgery, Belial indiscriminately kills anyone who opens the basket like a malevolent jack in the box.

It's clear from the start that some sort of creature is contained within the basket, but writer-director Frank Henenlotter (Frankenhooker, Brain Damage) smartly allows the tension to build before revealing Belial in all his glory at the end of the first act. There's no mistaking it for anything but inanimate rubber (save for a primitive stop-motion sequence), but its blood-curdling screams give it life. Special effects artists Kevin Haney and John Caglione Jr. both won Oscars for Best Makeup — for Driving Miss Daisy and Dick Tracy, respectively — less than a decade removed from Basket Case.

MoMA's 4K restoration of Basket Case's original 16mm AB negative reels arrives on 4K Ultra HD with Dolby Vision (HDR10 compatible) and original uncompressed PCM mono audio via Arrow Video. Importantly, the restoration presents the film in newfound clarity while preserving the '80s NYC grime inherent to the film. The limited edition set comes with reversible artwork, a double-sided fold-out poster, and a booklet with writing on the film by horror historian Michael Gingold and a Basket Case comic strip by Martin Trafford, all housed in a slipcase featuring artwork by Sara Deck.

While no new special features were produced for the 4K, the plethora of existing materials including cover every conceivable aspect of the film. Henenlotter and VanHentenryck's breathless commentary from Arrow's 2017 Blu-ray doubles as a low-budget film school, from reusing sets to dumpster diving for decor. An archival track from Something Weird's 2001 DVD with Henenlotter, producer Edgar Ievins, actress Beverly Bonner, and Basket Case 2 production assistant Scooter McRae repeats most of the insight, but it's fun to hear their rapport.

Interviews are ported over with VanHentenryck, who discusses his cerebral approach to playing the character; Bonner, who wrote and starred in a play examining where her character might be 30 years after Basket Case; Florence and Maryellen Schultz, Henenlotter's identical twin cousins who play nurses in the film and share his unique sense of humor; and legendary film critic and The Last Drive-In host Joe Bob Briggs, whose campaign to host the film's drive-in premiere saved it from being cut by its distributor.

A joke interview with Henenlotter features the filmmaker portrayed by Albert Cadabra, a sideshow performer who edited Henenlotter's Bad Biology, in the nude. The Latvian Connection explores four crucial members of the Basket Case team of Latvian descent: Ievins, associate producer/effects artist Ugis Nigals, casting director/actress Ilze Balodis, and Belial performer Kika Nigals. What’s in the Basket? is a 78-minute documentary produced by Severin Films in 2012 covering the Basket Case franchise with cast and crew.

Three short films are featured: Basket Case 3½, an 8-minute mockumentary from 2017 in which Henenlotter interviews "Duane Bradley" (VanHentenryck) about the events of Basket Case; Slash of the Knife, Henenlotter's 1976 short film that ultimately lead him to make Basket Case, with optional commentary by Henenlotter and playwright Mike Bencivenga and outtakes; and Belial’s Dream, a 2017 stop-motion animated short by Robert Morgan (who just made his feature debut with Stopmotion), accompanied by its own brief making-of featurette.

Other extras include: the MoMA's 2017 restoration premiere introduction and Q&A with Henenlotter, VanHentenryck, Bonner, the Schultz twins, and Ugis Nigals; The Frisson of Fission, a video essay by film historian Travis Crawford exploring the history of conjoined twins and "freaks" in cinema; a 2011 filming location tour with Henenlotter and rapper R.A. The Rugged Man (who co-wrote Bad Biology) explore the filming locations; outtakes; five image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); three trailers; a TV spot; and two radio spots.

Henenlotter didn't set out to make a cult film — in fact, he didn't think anyone would ever see his feature debut — but that's what he accomplished with Basket Case. Shot on location in New York City, the picture doubles as a time capsule of a seedy version of Times Square that no longer exists; one littered with drug dealers, sex workers, and porno theaters. While the sequels would lean more into the comedy, the original film balanced its camp with well-placed shocks.

Basket Case will be released on 4K Ultra HD on April 30 via Arrow Video.

[takami-takami]

I NEED YOU GUYS TO LOOK AT THIS SHIRT I JUST ORDERED

[ditzydisko]

Super embarrassing and disappointing to see some of yall turning on Larian after everything they've given us PLUS they're working out a legit modding set up for yall, sounds like you need a reality check

[contemplatingoutlander]

This is such an important article, the above link is a gift 🎁 link so that anyone can read the entire article, even if they don't subscribe to The New York Times. Here are some highlights:

Two prominent conservative law professors have concluded that Donald J. Trump is ineligible to be president under a provision of the Constitution that bars people who have engaged in an insurrection from holding government office. The professors are active members of the Federalist Society, the conservative legal group, and proponents of originalism, the method of interpretation that seeks to determine the Constitution’s original meaning. The professors — William Baude of the University of Chicago and Michael Stokes Paulsen of the University of St. Thomas — studied the question for more than a year and detailed their findings in a long article to be published next year in The University of Pennsylvania Law Review. [...] He summarized the article’s conclusion: “Donald Trump cannot be president — cannot run for president, cannot become president, cannot hold office — unless two-thirds of Congress decides to grant him amnesty for his conduct on Jan. 6.” [...] The provision in question is Section 3 of the 14th Amendment. Adopted after the Civil War, it bars those who had taken an oath “to support the Constitution of the United States” from holding office if they then “shall have engaged in insurrection or rebellion against the same, or given aid or comfort to the enemies thereof.” [...] The article concluded that essentially all of that evidence pointed in the same direction: “toward a broad understanding of what constitutes insurrection and rebellion and a remarkably, almost extraordinarily, broad understanding of what types of conduct constitute engaging in, assisting, or giving aid or comfort to such movements.” It added, “The bottom line is that Donald Trump both ‘engaged in’ ‘insurrection or rebellion’ and gave ‘aid or comfort’ to others engaging in such conduct, within the original meaning of those terms as employed in Section 3 of the 14th Amendment.” [...] The provision’s language is automatic, the article said, establishing a qualification for holding office no different in principle from the Constitution’s requirement that only people who are at least 35 years old are eligible to be president. “Section 3’s disqualification rule may and must be followed — applied, honored, obeyed, enforced, carried out — by anyone whose job it is to figure out whether someone is legally qualified to office,” the authors wrote. That includes election administrators, the article said. Professor Calabresi said those administrators must act. “Trump is ineligible to be on the ballot, and each of the 50 state secretaries of state has an obligation to print ballots without his name on them,” he said, adding that they may be sued for refusing to do so. [color/emphasis added]

Let's hope that election administrators across the US read this article and begin to set in motion the mechanism to prevent Donald Trump from appearing on ballots across the U.S., in case he does get the GOP nomination.

[bluespring864]

I just read this insane thing and thought the folks of tumblr might appreciate it

The European Parliament is a peculiarly Byzantine place, which is all the more baffling for an assembly that only sprung into life in 1979.

It’s replete with obscure working groups hived off from real committees, opaque voting procedures, feeble attempts to keep tabs on the Commission, and dull, empty plenary sessions taking place weeks after the news trigger has passed. And don’t forget the gift vault on floor 5 ½. 

And the article in full because it is insane:

Inside the European Parliament’s gift vault

APRIL 17, 2023 4:00 AM CET

BY EDDY WAX

BRUSSELS — Down a curving corridor on floor five and a half, there’s a dark alcove hiding an unmarked door. 

This is the final resting place for the European Parliament’s would-be bribes. 

The secret chamber is piled high with diplomatic gifts, all carefully labeled and left to languish in bureaucratic limbo under lock and key — neither accepted nor rejected. 

There’s the opulent; there’s the bizarre. One cupboard contains a Taiwanese wristwatch given to a Polish EU lawmaker. Another holds a pot of French mustard, a miniature Saudi Arabian door and a commemorative plaque from the Indonesian parliament.

Expensive bottles of wine, children’s toys, wireless headphones, books, stationery, figurines — five dusty containers are brimming with the forsworn freebies that governments and parliaments from all over the globe have showered on EU lawmakers. 

The crypt — essentially a glorified janitor’s closet — has sat largely unperturbed since the collection began almost 15 years ago. But in recent months, it has taken on a new significance due to revelations over alleged bribes that countries like Qatar, Morocco and Mauritania were funneling to EU lawmakers. 

The scandal, dubbed Qatargate, has prompted soul-searching within Parliament, which is now squabbling over how to revise the code of conduct that governs lawmakers’ behavior — including what they should do when offered a gift.

But here, in room 55A031 of the labyrinthine Paul-Henri Spaak building, remain the gifts given but not received.

Too small a room

Outside, there is no indication about what the room contains. It is permanently locked.

Besides the renounced gratuities, the room stores old MEP files.

POLITICO’s access to the vault was facilitated by the office of German Green MEP Daniel Freund — a vocal proponent of tougher transparency rules in the institution — plus three European Parliament officials, including a spokesperson.

“It’s a bit anticlimactic if you expected some kind of treasure trove,” Nurminen said, standing on the squeaky linoleum floor of the vault as the air conditioning thrummed in the background.

With MEPs rushing to declare many more gifts than before in light of the Qatargate scandal, this storage room could soon become too small. Between 2009 and 2014, EU lawmakers declared just 15 gifts — but in this parliamentary term, which began in 2019, they’ve already registered 266.

The higher numbers are largely due to a massive dump of gifts by Parliament President Roberta Metsola, who declared 170 gifts since the start of the year — most recently a traditional shirt from the chairman of the Ukrainian parliament and a decorative box from Harvard University.

The president’s gifts are either displayed in her office, stored in this gift vault — or already long gone. When it comes to gifts of chocolates, wine or crunchy snacks, some have been “served in the course of Parliament’s functions,” i.e. consumed during official work meetings.

Even though she missed the internal deadline to declare many of the gifts, Metsola — who has been Parliament president since January 2022 — argued she was being radically transparent by declaring the gifts and turning them over. This broke with years of the institution exempting the president from declaring gifts on the public register.

Because of this change, many gifts given to previous presidents and kept in boxes by a set of civil servants called the “protocol service” are now being transferred to this room from undisclosed locations. The Parliament spokesperson described this gift vault as the only dedicated room where such gifts to former presidents are kept.

Just 17 gifts to presidents past and present are on display in glass cabinets at the Parliament’s seat in Strasbourg, next to a tiny kiosk selling Roberta Metsola-themed stamps. They include a statuette of a horse from the United Arab Emirates’ National Council; handmade artwork from the president of Nigeria; a silver bowl from top U.S. politician Nancy Pelosi; a peace-themed mosaic from Pope Francis; and a vide-poches or decorative tray from French President Emmanuel Macron.

Manfred’s mobile

For now, the gifts in the chamber in Brussels are essentially in limbo — neither displayed nor used — a fate that might perhaps make lobbyists or foreign dignitaries think twice about going to the trouble of making any such gesture in the first place.

A case in point is a Huawei smartphone that was worth more than €150 when given to European People’s Party chief Manfred Weber by the Chinese tech company — in 2013. It’s been gathering dust here ever since.

The “end of life” rules, as Parliament speak would have it, means dead but not buried.

According to the current rules, EU lawmakers can keep these gifts permanently if it can be proved they have no “obvious” value to the Parliament. Or they may be temporarily displayed in their offices if the president gives her blessing.

In theory, parliamentarians can also bid to buy back their gifts in a public tender — but such an auction has never happened.

At a later stage of the ethics reform plan initiated by Metsola, senior parliamentarians could at some point tweak the code of conduct to allow the gifts to be given to charities — as happens with used furniture and food waste from the canteens. But such a tweak is currently not under consideration.

“If you have more presents handed into the institution, there needs to be a way to process them. So the existing 2013 rules might be revised,” the spokesperson said as the door quietly closed.

 source: politico.eu