#performance class

[actingmasterclassseries]

Drama Queen: An LGBTQ+ Acting Workshop with Jade Esteban Estrada

As an actor, educator, and proud drama queen, I created this workshop for queer performers ready to take risks, tell the truth, and shine brighter than ever.

Come play, explore your story, and connect with a bold, supportive LGBTQ+ community. This is your space. Your voice. Your moment.

June 18, 2025 | 6–9 pm CST* | Zoom $50 | Link in comments | actingmcseries@gmail.com

*Registration closes at 5 p.m. CST

Photo: Peter DiAntoni

Support my teaching on Buy Me a Coffee.

[novaneondream]

Anyways what kind of music do you think Eri listens to

[hussyknee]

Post cancelled because too many liberals think Kendrick actually did something other than profit off US nationalism. Keep Nina Simone's name outta your dickriding mouth.

[atomicradiogirl]

excerpts from 'coming out under fire: the history of gay men and women in WWII' by allan berube

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[lnmei]

Here’s a bit of a departure from my usual art posting but I’d like to get the word out about my dear friend Edrian and his friend Angeles’s endurance performance and hunger strike for a free Palestine in Los Angeles starting today, June 17th. (More info on Edrian’s Instagram and at venerations.cargo.site)

Edrian will begin cutting out paper dolls and ribbons to reach 35,647 of each, reflecting the reported death toll of Palestinians killed by Israel’s genocide in Gaza since Oct. 7th. He will not move from the venue until he is done and do nothing aside from cutting with few exceptions made for his own physical and economic survival. In addition to that and to represent a microcosm of the suffering in Gaza and Palestine, he will be on HUNGER STRIKE until he finishes. It’s an impossible task to do alone before starving so audience participation is essential. I’m spreading the word to ask for support through participation!

You can participate in a number of ways (more detailed instructions here):

Spread the word. Word of mouth and social media sharing are crucial as this performance is being promoted pretty exclusively via word of mouth.

Donate money to Palestinian aid funds! Certain high donation amounts can help Edrian continue his endurance performance by allowing him to engage in life-giving activities like showering or socializing with a loved one, and reaching the 100k total goal allows him to end his hunger strike.

If you live in and around Los Angeles, visit the venue (800 Date Ave, Alhambra, CA 91803) There you can help him cut and show your support. ***The performance is on the second floor of the venue and there is no elevator so it is not accessible except by stairs :(

If you don’t live near LA, you can cut paper dolls and mail them to the venue address to count towards the total. (printable templates here) This is what I will be doing. It’s easy to do with any spare time you’re not using your hands. I recommend mailing them in small batches if possible to get them in on time and reduce the risk of losing mail. I also recommend including info about the count of paper dolls in each parcel (for example include a note telling the total number of paper dolls) Every small amount counts!

If you are an Art Center College of Design student or alumni, sign the petition to pressure Art Center to divest from Israel! Art Center has refused to host Edrian and Angeles for their performance, torn down their posters promoting it, and in general refused to take a stance against Israel’s genocide. As artists and human beings we must resist genocide and refuse to support institutions that side against the people.

He is also live-streaming his performance and documenting progress if you would like to show support just by being present.

If you’ve never participated in a political performance before now’s a great chance, any little bit counts! I appreciate any time or effort you take to read this, support my friends, and work towards a free Palestine! ♥️🇵🇸

[sofiaruelle]

I heard you like magic~✨✨! I got a wand🪄✨ and a rabbit🐰✨!!!

Redbubble

[hooned]

tagged given and tamed, yeah all passive voices kill the past, just get lost

[sandreeen]

"I'm just Ken a mere S-class." ーSung Hyunjae, The S-Classes That I Raised

[wolfy1298]

My final for a Shakespeare class

Thank you @worldsokayestmagicalgirl for helping me with the voice acting! You make for a fun grave digger!

[mwolf0epsilon]

I think Flying Scotsman should emote more with his dumbo ears smoke deflectors...

He can move them, so that's an extra emoting element for sure!

[clouvu]

*wheezes* Okay so Hear Me Out-

[ghost-bxrd]

road trip au dick realising Jason’s “kidnapper” is also yhe Calvin rose he knew from the circus…. Akksdvksmsbdm

Yessssssss

Just— exquisite angst all around. Dick is torn between reconciling the sweet boy who wanted to be an escape artist with the cold eyed man that threatened his little brother at knife point. 🥺

[moonshynecybin]

the earnhardts are such a fascinating intergenerational racing family bc its like. dale's dad ralph earnhardt was also a really successful NASCAR racing driver, but he refused to help dale race AND refused to give him any approval and then DIED young at age 45, which EVERYONEEE who knew dale was like yeah that drove him insane. that gave him issues. lifelong ones. so dale went into debt trying to race and make him proud/prove him wrong, and then dale wins a championship in his second year but because hes so focused on racing (because of HIS father...) he himself ends up not having too much of a relationship with his kids. apparently barely saw them for years and left their mom to raise them alone in poverty. (he did this to two women and three kids but one of them got adopted by his stepdad. oop) but anyways. so it looks like. a pattern might be continuing. father’s inflicting poverty on their sons. generational cycles.

but then. the kids house literally burned down! and when they were in a tough spot because of that, he took them in to his big house on lake norman to raise them with no questions. which okay bare minimum but still. notable that he takes em in. and they have a tough relationship bc his son isn’t so much a tough guy. doesn’t quite fit in with what the mold of masculinity should look like to a race car driver from rural north carolina. so it’s tough. and he sends him to MILITARY SCHOOL… which to me is like. an i don’t even know what to do with you move. utterly unequipped

but even more notable: he starts to miss his kids and he brings them home from school. has another baby. and he starts bringing dale jr to races to ‘help’ with the crew. and then helps him start to race on his own. and dale gives him the support that his dad never did for him, and then to boot— its a way that his stunted north carolina working class rural ass can actually RELATE to his son in a way he never could before, and they DO bond through it. again unlike dale sr and his father. and dale sr wins 6 more championships. and finally daytona. and proves his dad wrong. he CAN race. he CAN win. he CAN help his son race. and maybe, FINALLY, he reaches some peace inside himself with his lineage and he soothes some of that wound in his soul.

but then its the twilight of dale sr's career, and dale jr joins NASCAR. and its 2001. and his son is running p2 in the daytona 500, the biggest race of the year. the one it means the most to win. and dale sr is in p3, and knows how much this means, and knows his own career is coming to the end sometime soon.... and hes the guy famous for racing every lap like its his last. doing anything for the win. the master of the bump and run. the intimidator. and literally as his last act on the earth, he IGNORES that same desire to win a race that has defined so much of him as a competitor and has been created in response to the approval his dad never gave him, and he defends his son's p2 for lap after lap from the cars behind. and then on the last lap, one corner from watching his son podium, he dies. and his son climbs out of the car after finishing p2 in the daytona 500 because of his father. and just has to deal with all of that.

and idk part of what is so fascinating to me about this family is that its two generations of people who SHOULDVE been nepo babies (and in many ways were), but who also lived in periods of poverty because their father's failings. and ralph earnhardt died before he could see his son prove him wrong, but dale earnhardt, despite also doing so much harm to his son and not understanding him for a lot of his childhood, managed to eventually carve through the daddy issues and the history and his own reputation and the particular brand of southern working class repression that can FUCK people up, figured out how to tell his son he loved him the only way he knew how: through racing, and he died trying to give his son a better chance at success. and i think there is a very interesting aspect of tragedy to that

[mouse-fantoms]

On top of being robbed of so much Juke content we’ll never get, what I think about alot is how Juke would have been approached more if it went further.

One of the (many) reasons I love jatp so much is it makes me believe their characters are real, that they have background, they have their own goals and ambitions to them, they’re fleshed out.

That moment of Flynn going “my girls got a crush and his name is Luke” and Julie going “what no?! Luke’s a ghost😳.” And Flynn saying “a cute ghost” and Julie giving in and saying “…with a perfect smile☺️” and adding that Luke is “cute air” which implies she has indeed given this Luke crush idea some thought.

That moment of just two best friends talking about the others potential crush like that’s such a good moment bc I genuinely believe that I am watching these two genuine besties just have that kind of talk with one another bc that happens!

Like that moment we have with our friends when they’re like “hey I got something to tell you 👀” or they approach you like “so… umm… I’ve been kind of noticing your behavior lately around this person.” It’s the realistic little things like that which is why I appreciate this show so much.

Julie having the line of “what no! Luke’s a ghost!” Means so much that, on top of acknowledging “hey he’s got a cute smile, and he himself is cute” she also acknowledged “…he is a ghost though…” but then our Julie being who she is (we love her for it) went “but he still do be cute though 🥰” like this is a genuine teen girl in high school having a crush

And then later on when Reggie and Alex bring up how Luke and Julie ooze chemistry (and the way that throughout the show when Julie and Luke are being cute and them, the looks that we see Reggie and Alex give like Juke and then each other is so good bc I genuinely believe like “yeah these boys are all friends with one another so of course they’d react that way to their other friend showing an interest in their fellow friend”) Luke’s like “no come on I have chemistry with everyone I sing with” HE DOES THE SAME THING JULIE DID WHEN THE EXACT SAME TOPIC EAS BROUGHT UP TO HER! (Soulmates your honor!)

Him denying it, like Julie did, implies too that he also had the thinking of “…she is alive though and I’m not” (I mean me personally I feel like Luke didn’t truly realize he liked her until later on even if there were signs earlier, just bc he seems like the kind of person where like music was his absolute everything like even if the Sunset Curve fangirls were always like ‘omg Luke is amazing 😍’, I just get the vibe that he would never really notice the advances towards him bc he is just so consumed in music and that is his whole existence, so when Reggie and Alex see that Luke appears to be falling for Julie it’s a big deal bc they’re probably like “Luke has NEVER shown any interest ever so the fact that a girl has replaced music in his life THIS IS A MASSIVE DEAL”)

And then the moment when they’re on Julie’s porch and she tries to hold his hand but ya know CANT (huge what a gut punched) and then she awkwardly looks away and he’s like “…this is an interesting little relationship you and I have” and they’re just there for a moment just looking and smiling at each other (THEY’RE FLIRTING SO MUCH WITHOUT SAYING ANY WORDS UGH TAKE ME 😩)

I am sat there genuinely believing that these are two teenagers who even though they know they’re not *supposed* to feel a way about each other, they still do. Like that scene is their confession to one another and it’s so sweet and genuine bc in that moment where Julie tries to hold his hand, they’re brought back to reality as to what they are and yet, they can’t help but still like one another and appreciate each other bc of what the other person has changed so much in their life.

AND THEN, that scene in the beginning of the last episode how Julie asks to talk to Luke (and Reggie and Alex immediately are like “oop leave them be 👀 they’re having a moment” being the greatest friends that they are) and they’re both standing there, in each others presence, it takes a moment for Julie to say what she wants to but they’re just two kids who ended up in each others lives and they know they like each other but they know they can’t act on those feelings yet they still just have this love for each other is so enduring and charming. The way Luke tells her “anything Julie you know that” MAKES ME MELT like ugh 😩 their dynamic and friendship has grown so much with each other from episode 1 to like now and it’s so just ugh it gets me

When I think how Juke could have been approached if we had gotten a chance, I would have loved to see the new like “glowing touch” development and how that would impact their dynamic. (I just imagine Reggie just hugs Julie all the time bc he can (he just seems like such a hugger and I feel like he’d give good ones🥺) and Alex also will gives her side hugs (they just take advantage of being able to physically touch her bc they don’t know how long they’re able to do it for with their new ghost development)) I feel like Luke and Julie would just be a bit apprehensive since the hand holding thing on the porch, and maybe their hug was just a one time thing.

Would have loved to see Carlos referring to Luke as “Julie’s boyfriend” (he was there for edge of great and stand tall THERES NO WAY he’s thinking anything of than “the sleeveless one is indeed my sisters boyfriend”) would be extra great too with like Luke being in the room and Carlos just says that and Julie quickly trying to make him not talk about it bc it’s embarrassing 💀 her just being like “Carlos, he’s a ghost” and him being like “…hey with you having a boyfriend are you going to have less time with Dad and I bc you’ll be busy kissing him?” And Julie’s face just goes pale as Luke takes the time to take himself out of room meanwhile his face his like bright red

Would have loved to see when Carrie’s redemption is happening and it’s Julie and Carrie and Carrie’s like “sooooo 👀 I’ve seen how you look at your guitarist” and she immediately tries to shut it down but Carrie is like “Jules, we may not have been that close in the past year and some but we’ve known each other for how long? I can see your tells!”

I just think a lot about how this ship, even though they’re not meant to like each other yet they do and still care about each other, would have been approached more if we got the chance