#revival renovates design

[iliketoseeeverythinginneon]

“:: The Rothenberg Residence, 1929 :: In a real estate market full of grey paint and cheap materials, 4310 7th Avenue is nothing short of a once in a lifetime restoration. Recently completed by Revival Renovates Design, the vision for the resurrection of the home was to be a love letter to original Los Angeles Spanish and art deco architecture, and is an unusual and refreshing revival of a more than deserving property. This commanding Leimert Park Spanish Colonial Revival perfectly marries the memorable with the modern. An incredibly rare opportunity in one of the most beautiful neighborhoods in all of Los Angeles.”

Instagram: iliketoseeeverythinginneon

[flancrossing]

Mudroom Foyer

[inkdemonapologist]

Way back before we got the BatDR trailer I had this wild theory -- basically, that the reason they couldn't show any concept art/trailers/etc was that BatDR was gonna pull a wizard of oz and suddenly be in colour partway through. So then that's why we were getting teasers like "look, its a model of A SHELF," because all the actual interesting stuff would've obviously been in colour and spoiled the surprise.

Part of the reason I thought this would work really well was that I assumed Nathan's acquisition of the Bendy IP and "revival" of the franchise in-world would be thematically relevant, rather than just... an excuse to have a second game. Like, Bendy is in new hands now, the cartoons are essentially being rebooted, and there's a LOT of thematic potential in that concept of Old vs New or the good and bad aspects of Change, and the idea that reviving Bendy in the real world would impact the ink realm was a fascinating concept to me. Now that we know the main thrust of the story........... actually I still think this could've worked with it? The sepia-toned Memory of Joey's Regret and the evil of the Ink Demon lingers over the studio and corrupts this new colourful world, while Wilson, the Man Who Killed The Ink Demon, is the one trying to forcibly extinguish these old stains and make the machine useful again.

Geez, you could tie Wilson's motivation in pretty directly actually if you dropped the ENTIRE thing where he says he's trying to BETTER THE WORLD THRU THE POWER OF THE MACHINE or whatever and instead just make him an actual janitor whose dad just gave him this bottom-tier job at his company. Give Nathan one audiolog about how his son is neglectful at work and its hard to find a job he can actually do or some such, and then you have Wilson as someone desperate to prove he deserves more. He sees his father's idolisation of Joey is naive, is able to realise the memory of Joey may be literally corrupting the business through the machine, and wants to eradicate that -- including Audrey, the most subtle infiltration of Joey Drew's influence. He's essentially the force of the New applied with no respect for the Old -- and then you could still give Wilson ties to that psychedelic neon ink from the Shipahoy battle; in fact, you could probably lean into it more: colour taken to the extreme, colour taken too far, something just as destructive as Joey's monochrome obsession.

(I've always loved the idea that Wilson isn't actually an artist and just stole the Shipahoy design while janitoring, which works great with the Shipahoy Monstrosity at the end being part crab because he couldn't actually create an isolated model to feed the machine... in this current era of The Threat Of AI Generation, the idea of wilson introducing a lot of mechanical innovation and incompetently dumping artwork into the machine to make new, too-colourful horrors in the interest of impressing his father while destroying all the old things these cartoons were first built on feels apropos lmao. obviously AI wasn't a huge talking point while BatDR was in production, but "ppl who assume more technology automatically makes art better while inadvertently destroying its heart" is extremely not new)

So the ink realm could be partially in colour (a world changed by the new cartoons), partially sepia (the infected memories of the old studio), and partially glowy neon (wilson's overzealous renovation). It'd be neat if Audrey became a bit of both -- partially colour, partially sepia -- and represented the new cartoons' ties to the old. Learning about the horrors that befell her father's old studio and the Gent technology that Wilson is now using are both relevant -- Joey's exploitation of actual artists who care was bad, and so is Wilson's complete disregard for the heart of these artists' work. The memory of Joey can't fix it because he is part of the problem -- he and the demon are the source of the monochrome infection -- so you have to be the one to bring heartfelt colour into this world, a power none of the others have; find a way to heal those trapped by old wrongs and restart the cycle in a better direction. Then, when Audrey says she wants to create a kinder cycle at the end, we have an idea of what that means and that she can do it b/c there's simple symbolism associated with it -- the new, colourful world that's neither corrupted by festering wrongs nor torn apart by Wilson's machines.

anyway. thats my half-baked idea. i still think its a shame that there WAS colour in there for like 2 seconds and they did NOTHING WITH IT!!!!

[hometoursandotherstuff]

1928 Colonial Revival in Houston, Texas is nicely restored and retains many of the original details. 4bds, 4ba, $1.675M.

The entry hall and stairs are typically colonial style.

The sitting room is large and has a fireplace plus a massive bookshelf wall. Not sure that the fireplace mantel is original b/c it's a little too ornate.

The rooms in this home are very spacious. The dining room has the typical wainscoting and a very large built-in shelving unit that looks like part bar.

Check out this kitchen. Just like a modern day open concept kitchen, this one also has a family room with a fireplace. It's huge.

The kitchen has been completely renovated and updated.

The cook's kitchen is designed for a serious cook.

And, the roomy family area keeps guests and family nearby.

This bath seamlessly combines old and new with an original tub, pedestal sink and beadboard.

There's also this lovely comfortable den.

The primary bedroom is very large and has doors to a terrace.

The en-suite is big.

Look at the size of the shower, alone.

And, there are 2 walk-in closets.

This is the terrace outside the primary bedroom.

The finished attic has sleeping, office, and seating areas.

Plus, it has very nice vintage bath.

The garden is gorgeous and even includes a fish pond.

Above the carriage house on the right is a guest apt.

It has a kitchen/living room combo.

A 3/4 wall separates the main living area from the bedroom.

Plus, it has a nice sized bath.

[felyas-stuff]

TMNT 2012 Space Arc Rewrite: Fugitoid

First in-depth character post for our rewrite is about Honeycutt because this rewrite was made by me and my friend @unscapedgoat what else were you expecting

All of the art featured here is a year and a half old at this point because we’ve been working on this rewrite for a long time and just didn’t post anything…the perfectionist in me says that I can do better but I won’t because the designs themselves are still relevant (though I recommend checking out this post for the characters designs). Speaking of…

Appearance

Zayton is a d’hoonib - a humanoid alien with big cat and eagle like features. He’s 6’1 feet and hundreds if not thousands of years old at this point - he’s old even for a long-living race. For his clothes I went for a mix of sad beige (because HAVE YOU SEEN HIS SHIP DECOR) and pirate (because he’s an outlaw who has a ship you know…some of you might even remember my "ship in the bottle" doodles) vibes

Fusiontoid is a modified 6 feet SAL model (both the original robot and the modificated version were created by Honeycutt). Compared to a regular SAL model, this one’s pearly-white instead of silver, has slim claw-like fingers, built-in weaponry and wires going from his brain to his main engine that function as neurons. When he’s not on Ulixes he carries an oxygen ballon because…human(oid) brains need that you know! He also has a spacesuit that he uses both as an oxygen ballon alternative and a disguise.

Story

Just like in IDW, SAL was one of Rewrite!2012 Honeycutt’s first inventions…which he later started mass-producing and selling because from what it seems like in OG and our AU 2012 Zayton is a freelancer from a rich family who earns money by selling various inventions of his. They did keep one SAL model for himself though, and later added a bunch of adjustments and renovations to it. Soon after his parents death Zayton started adding other renovations for his robot as well as rewriting the code and adding in a certain protocol, experimenting with the idea of making SAL his future body - after all, the man is old and dying is scary…The project however was scrapped when it was almost finished, after the scientist realised how risky this whole thing is and how easily it can go wrong. One of Honeycutt’s most recent inventions was the Black Hole generator. Something that can be used for good (it could’ve been a great power source for example) but all the potential buyers wanted to use to for mass murder - something the scientist didn’t want to happen. But because Zayton refused to sell their invention to anyone, he started to run out of money, making it hard for him to even pay for his home/ship Ulixes. The rumours of a brilliant scientist being this desperate for money started spreading near and far. This is when the Krang decided to show up and offered such a huge payment, that at this point Honeycutt just couldn’t refuse.

But hours after that Zayton realised that what he did was truly horrible and by this time the Krang could’ve killed millions of innocent people. And, just how Honeycutt thought - days later triceratons broke into Ulixes, asking the scientist to build them the same invention Krang used to destroy their home planet. Zayton refused, and before the triceratons killed him, Honeycutt gave one last order to his robot: destroy the heart of darkness

Hours later, Honeycutt wakes up in SAL’s body, only now realising that even though the brain transferring project was scrapped it was still a part of his robot’s new program - and, by following that program, it revived its creator in its own body. And, if it wasn’t already bad enough - Honeycutt’s new body will follow Honeycutt’s latest order of destroying the black hole generator no matter what. Horrified at the thought of being forever stuck in a robot’s body and having to eventually sacrifice himself to right his wrongs, the scientist just sits there for a good minute, trying to get their new body to move while thinking about what the hell is he gonna do now

Meanwhile Nathan Bishop (this rewrite’s OC inspired by 2012 Bishop because let’s be real 2012 Bishop isn’t much like Bishop and should’ve just been a new character with the same surname or something) finds out about what his old pal Zayton did and he’s pissed. He doesn’t tell about this to other utroms and just storms off to Ulixes to tell Honeycutt that he has less than an hour to explain himself, run as far as he can, and pray to god that they will die sooner than the Utrom Council finds and executes him. But Bishop quickly changes his mind once he sees what once was his friend - a brutally disfigured humanoid body and a scared robot covered in blood. Honeycutt quickly explains this whole situation and Nathan decides to stay at Ulixes for longer and help him. Because cutting off their ties now would just be cruel - clearly, Honeycutt already got consequences for his actions and regrets what they did.

Later on the two discover just how unstable Zayton’s current state is - in our rewrite AU he’s not just "jittery and nervous" because of his fusion core - he’s a robot filled to the brim with formaldehyde. A liquid of polar molecules. Honeycutt made sure that there won’t be any leakage, but next to so many electronics short-circuiting is bound to happen. And after a while Zayton’s brain just gives up and their body goes into somewhat of an auto-pilot mode, controlled by SAL. After a good rest (which usually takes a whole day) Zayton gets control of his body back. Yes, he does sleep, that’s something human(oid) brains do. No, you can never tell because he always seems active due to the body being in control of either Honeycutt himself or SAL. The two function separately and have their own memories, the last of SAL’s being that Honeycutt is dead. That’s why the triceratons named him Fusiontoid in the first place - at this point the maul-functioning android is neither fully SAL or Honeycutt, but an uneven mix of both. There is some sort of brain rot going on which results in him forgetting some of their memories. Sometimes Honeycutt uses it to his advantage to seem innocent and unaware of what he did while he was still a humanoid…but most of the times it’s just a huge inconvenience for both Honeycutt himself and his friends, making them question if, at this point, Honeycutt is still…well, Honeycutt.

Nathan, however, trusts his cyborg friend enough to ask him to help his earthling friends. At first Zayton agrees for a selfish reason - saving Earth and destroying the black hole generator would both fulfil his only purpose (from SAL’s perspective) and fix his reputation (the triceratons deemed him a criminal and at this point things Zayton did and what happened to them is a common knowledge for many). However, during their journey Honeycutt gets attached to his new friends and gets an on-screen redemption arc that lasts throughout this rewrite’s space arc - later on they genuinely want to help the main six save their homeplanet and even becomes a father figure for Donnie, Mikey and April and even tries to find another way to destroy the Black Hole Generator without blowing himself up so that the three won’t be sad about his death. Leo is also thrilled about getting a new father but for all the wrong reasons which I’ll talk more about in the next rewrite posts, but in short - Leo sees Honeycutt as a Splinter replacement (art below by @unscapedgoat)

Trivia

• They actually introduce themselves as Fusiontoid Honeycutt to keep their status quo for those who don’t know about his full story yet. He also does his best to keep this image of a silly friendly robot that totally never did anything wrong in his life ever. The more Honeycutt begins to trust the main six, the more he acts as his true self around them, slowly revealing who he really is

• Honeycutt had persistent tic disorder and ADD while he was humanoid which only worsened after he became a cyborg. They’re also autistic

• The bleep-bloop stuff are tics half the times and built-in censorship other times…which is a great robotic body feature to have when your bestie basically asked you to babysit six angsty teens who are constantly getting on your nerves

• Honeycutt used to go by he/him/they/them/it/its but no longer uses the last one because ever since he became a cyborg people only called him that in a derogatory way as if he’s some kind of object

• He used to have great relationships with his parents…and now that they’re gone and Honeycutt himself became a cyborg outlaw they sometimes feels like a disgrace to their family (the fact that some people actually called him out like that also doesn’t help)

• They’re probably the worst father figure imaginable and they know it what they don’t know is that these mutants real dad is even worse Honeycutt’s rather immature despite his age because he had the privilege of never facing any real problems up until now. Sometimes they outright neglect their newfound kids in favour of their own needs (especially at the start of the story) but later on start taking better care of the main six and grows a lot as a person.

• Leo, Honeycutt and Nathan have a bonding experience over the fact that they’re all into cheesy sci-if films from Earth

• Speaking of Earth - that’s one of Honeycutt’s main special interests. He’s especially fascinated with the turtles and April because OMG MUTANTS? YOU CAN ACTUALLY DO THAT WITH UTROM OOZE??? awesomesauce

• Since Honeycutt has memory issues at first he couldn’t remember the main six’s names and called them like their defining traits - Freckles, Toothgap, CrackedShell, Scar, Human and…April. Because a month like that already exists that’s not hard to remember

[droughtofapathy]

"Welcome to the Theatre": Diary of a Broadway Baby

Cabaret

April 24, 2024 | Broadway | August Wilson Theatre | Evening | Musical | Original | 2H 45M + 1H preshow

I am kicking my feet and twirling my hair as I lovingly, tenderly, reverently carve Bebe Neuwirth's name into the Tony personally.

Bebe Neuwirth Verdict: My Soul Transcended Space and Time

A Note on Ratings

Oh. The rest of the show. Right.

Cabaret is one of the greatest pieces of musical theatre to exist. I have seen four productions of this show on multiple "levels" of production (Broadway, community, regional, etc.) The show being what it is, it seems inconceivable to ever stage a poor production of a show with such rich material. Even if the talent pool came from a small town, the music, the lyrics, the story would be so strong, so moving, so timeless, that nothing coupled possibly ruin it.

I was wrong.

The fifth Broadway revival of this beloved Kander and Ebb musical is a stagnant spectacle whose price tag seems to actively encourage its potential audience to pick up their knitting, their book, and their broom, because the holiday of the Kit Kat Club is only meant for the rich denizens of society. Helmed by a director with no prior experience in musical theatre, the show fundamentally mistrusts its audience's intelligence and the once-masterful subtext is now about as subtle as a brick through a fruit shop window.

It's a bad sign when the security staffer at the entrance line tells you the design is excellent, the visuals are excellent, "the show is...good," with pointed hesitation and eyebrow raising. What would we do without New York honesty?

Under this new "immersive" direction, patrons enter through a seedy back alley door (with too many steps, which granted, they did warn me about before and I should have listened) and into a massive three-story club design with pre-show entertainment and drinks galore. With limited seating and rather underwhelming acts, my disabled ass went to my seat in the theatre instead where the whole auditorium has been gutted and renovated to create a theatre-in-the-round setup that ultimately does not suit the staging. Instead, actors play primarily to the "east" side, leaving the "west" to see a lot of backs throughout.

As characters, the Emcee and Sally are deranged, clownish, and utterly devoid of layers and complexity. They are exactly what their outlandish costumes, garish makeup, and overwrought performances say they are: too much. Eddie Redmayne is going for some kind of demonic muppet clown portrayal. This interpretation fails to do what the character is meant to do. Seduce, entice, enchant, all of which can be done in a morbid or even unsettling way, but Redmayne only ever irritates and repels. Similarly, Sally is an easy character to misunderstand. She's seemingly vapid, ignorant, and concerned with nothing more than having a good time. She's a character on the verge, but only ever on the verge. Too often I have seen performers act out the titular song as a full-blown breakdown. It is not. It is a triumph. It is a discordant celebration as the rest of the show falls into despair. In directing all of Sally's numbers to be as hysterical, unhinged, and off-putting as they are, it's clear the director, the producers, and to an extent, the actress who went along with it, do not understand this character, this story, this world. Less is more. Trust the material. Trust the audience.

Cabaret is a racy show with plenty of lewd and lascivious content. But this production takes the graphic nature to an extreme that ultimately misses the mark. Instead of a seductive coaxing, or even a morbid eroticism, we're granted such overt choreography (a man jerks off a giant black phallus into a woman's mouth, a woman mimes raining her tit milk all over a man's face, a woman graphically masturbates to Mein Kampf) that it becomes a juvenile display. Like children who make sexual jokes to be edgy, but only ever sound immature. It's off-putting, it's annoying, it's dull. There are multiple rewrites to the "Willkommen" introduction schtick, and the new lines are such a downgrade.

There are moments of relief amidst the spectacle that somehow still lacks spectacle. Bebe Neuwirth is a wonder of wonders, and her chemistry with Steven Skybell as Herr Schultz is a miracle of miracles. They are the saving grace of this monstrosity. Age, experience, and deep connection to the writers and the show give their performances a joyous, heartbreaking, beautiful tone. They are real, they are grounded, and they will shatter your heart. These scenes are the only places the director shows she's capable, perhaps because she has only ever done dramatic straight plays. The decision to stage "Married" as a trio with Kost spot-lit and singing in tandem was simple and brilliant and poignant. The way this show is meant to be. "What Would You Do?" is staged perhaps a little oddly, given the director's inability to remember she's doing an in-the-round show, but Bebe's rendition is the best I've ever experienced. I have heard this song sung beautiful by stronger singers, many who still grasp the acting well, but none hold a candle to her. This is a woman who has torn out her own beating heart from her chest as she chooses safety and self-preservation, even if it breaks her. This is a woman who is old and tired and not brave. Who has been given this one moment of happiness in her life and she has no choice but to saw it off like a gangrened limb before it poisons her entire body. Schultz and Schneider are the heart of this show. They deserve better.

It's been said by others, but the issues with this production seems to stem from its creative team's fundamental misunderstanding of Jewish culture. The show was written by three Jewish men who understood what was at stake. They had all lived through WWII. This is a production with a distinctly English tone, directed by gentiles, for gentiles. Broadway and New York, more familiar with Judaism than perhaps the West End, clearly received this revival differently.

Final Verdict: A Long Slog to Curtains

A Note on Ratings

[leibal]

Monty Sibbel is a minimalist residence located in Melbourne, Australia, designed by Nüüd. Initially a Sibbel home, it was characterized by its location among old gum trees and its appeal to those seeking an affordable, modern Australian residence. However, years of neglect and unsympathetic alterations had obscured its original charm. The renovation aimed to revive the house’s inherent character.

[eddie-redmayne-italian-blog]

In Cabaret, Set and Costume Designer Tom Scutt Wanted to Celebrate Queer Individuality

The British designer is currently double nominated for his work in the Broadway revival, which allows audiences to sit in the Kit Kat Club.

BY DYLAN PARENT JUNE 05, 2024

Tom Scutt is a stickler for details. For the designer, who headed the redesign of the August Wilson Theatre for Cabaret at the Kit Kat Club, the show isn’t only on the stage. It’s all around the theatre. As Scutt sits in the Green Bar, one of the many new audience lounges built for this revival, he shows off the space’s floral-patterned fabric.

“The Green Bar sort of became a bit of a manifestation of [Sally Bowles],” Scutt explains. “The seat covers in here are the same fabric as her suitcase in the show.” If, during Act One’s playful “Perfectly Marvelous,” one is seated on the correct side of the in-the-round stage, one might be able to peek inside Sally’s open, Mary Poppins-like suitcase decorated with butterflies, tassels, and hand drawings.

Explains Scutt: “I like the idea that the Kit Kat Club is real at a certain level. It's actually just a kaleidoscopic prism of the stuff that's happening in the show. [The Green Bar] is an extension of the dream idea. You're walking around the dream.”

Cabaret follows a young, queer American writer, Clifford “Cliff” Bradshaw (Ato Blankson-Wood) as he arrives in 1930s Berlin. On his first night, he finds himself in the seedy Kit Kat Club watching “the toast of Mayfair” Sally Bowles (Gayle Rankin) perform. Struck by her vivacity, impulsiveness, and green fingernails, Cliff finds himself beguiled and Sally moves into his apartment. But their Bohemian love bubble bursts as the Nazis rise to power. The revival, currently performing at the August Wilson Theatre, was nominated for 9 Tony Awards, including Best Musical Revival. 

Scutt has been doubly nominated for Best Costume Design of a Musical and Best Scenic Design of a Musical, no doubt because of how he completely transformed the August Wilson into the Kit Kat Club—from the time the guests enter the space through a special side entrance (going back in time to 1930s Germany), to when they sit down for the show (which is now performed in the round).

READ: See How Cabaret Renovated the August Wilson Theatre

“I think it's easy to write off a lot of what we've done in Cabaret as frivolous or style over substance, but that's wrong,” Scutt says definitively. “Maximalism and drag and dress up are so incredible at giving you political messages with humor and wit and vitality. It's sort of naughty and silly, and it just feels quite cathartic to get into one of these places that feels quite sterile often, and to just liven it up so that when people walk in here, they're just sort of tingling a bit.”

Scutt is the white, British son of an English and drama teacher, who was raised to be “well-versed” in the works of William Shakespeare and Richard Wagner. But, as he grew up, he discovered his queerness. As that identity grew stronger, Scutt “found there was more going on in me than the sorts of worlds that I've been brought up into could offer. I'm always looking for ways to subvert things within the confines of what we are given.”

As a designer working to untangle the knot that is created when working on a piece that is inherently political, but presented in a commercial landscape, Scutt tried to balance “ferocity of spirit” and queer joy—in a musical that’s also about the rise of fascism. The way to do that was through contrast.

“I wanted the beginning of the show to feel incredibly exuberant and unique and youthful and free,” Scutt says. “We wanted the end to feel the opposite of that.” That playfulness is captured, in part, by the 12-person Prologue company—performers who vogue and play music amongst audience members in the lobby spaces of the Kit Kat Club approximately 75 minutes before showtime.

Citing wit and “bawdiness” as values found in drag performers, and countercultural artists as inspiration, Scutt’s Kit Kat Club is a feast for the senses. There are neon lights, decadent gold accents, beads, baubles, and fringe curtains bedecking the thoroughly transformed Wilson. Those details gradually ease the audience into the performance. Then on the stage, Scutt’s costuming completes the picture. “Willkommen'' is truly a greeting for one and all as ensemble members leap, wink, and strike poses in bespoke outfits. For every ensemble performer, their Kit Kat Club costume is entirely their own, based on the actor’s strong identity. Some notable Kit Kat Club dancer costume details: a shooting star, a teeny tiny hat perched slightly askew, and balloon-like peasant sleeves worn like opera gloves.

Texas costume for Cabaret on Broadway Sketch by Tom Scutt/Photo by Marc Brenner

“What I've done is [created] a system whereby the swings of the Kit Kat club are all in their own character as well,” Scutt says. “They never step into someone else's costume. I often go back to the show in London, and I'm just seeing a combination of people and costumes that I've not seen before. And, for me, that feels alive and that feels living and it feels unpredictable.”

But Scutt is also aware of how brash moments of choreography, when coupled with lacy costuming, can feel oversimplified and oversexualized in its queerness. In this interactive iteration, at the forefront of Scutt's mind is the potential for boundary crossing, even violence, especially as the audience is not always representative of those who frequent queer nightlife spaces.

“[Director] Rebecca [Frecknall] and I were absolutely adamant that we could find a way to celebrate these Kit Kat Club performers and their bodies without it feeling very vulnerable,” Scutt says. “The angle that Rebecca and I took was about ferocity and confidence. The [performers] are not necessarily out to try and get you to be seduced by them. [They] are actually out there to express themselves and to share who they are in their character. That's the self possession that is needed.”

Rankin’s Sally Bowles draws the clearest line between clothing and agency as she finds herself. Describing Sally as “her least happy” in her first number, “Don’t Tell Mama,” dressed the part of a melancholy-yet-mischievous clown child in lacy pants, Scutt points out that Sally is swinging on the pendulum between demeaning performance and naked vulnerability. Not literally naked, he clarifies, but exposed, wig ripped off.

As a contrarian thirsting for meaning, fame, love, Sally paints her nails green. “Green is, like, historically difficult, and people say you shouldn't wear it,” Scutt says playfully. “Of course she's gonna wear it, you know? Of course she'll do whatever everyone else tells her not to.” This is also reflected in Sally’s fur coat, which in this new version is a pastel green. Pulling from ’90s grunge and It Girls (Courtney Love in particular) of that era, Scutt cites the continuation of green in Sally’s prized fur coat as something that is “probably offensive and not necessarily beautiful, but punchy.”

Sally Bowles costume for Cabaret on Broadway

For Scutt, Sally is experimenting through clothing, not unlike a child, working out who she is and who she might want to be. The first time the audience gets a glimpse of her natural hair is during “Maybe This Time,” a ballad bemoaning lack of luck in love sung with the heart of a true romantic. The wanting is a wave crash upon the stage of the cabaret, her body is barely concealed in the liminal space of a dressing gown. 

Then it’s Sally's descent, “or assent, depending on which way you look at it,” into a suit in the final number, “Cabaret,” that Scutt says is the most reflective of Sally’s inner turmoil. When asked by Cliff to “wake up,” leave the Kit Kat Club, and run to a boat bound for America, to safety, Sally turns the metaphorical mirror around to her lover, challenging him to look at himself.

“She takes Cliff’s suit off of him and wears it,” Scutt explains. “It’s almost a kind of martyring. She sort of just takes it and sacrifices herself so that [Cliff] can be free.” In the spirit of a true rock star, Sally’s personal breakdown in “Cabaret” is an artistic breakthrough. “The performer that she really is is maybe brasher and fiercer and more unhinged [than before], but it is pure creativity flowing out of her,” Scutt says, likening her to a phoenix. “When she's in her underwear and that suit, she is at her most free as an artist. I love that version. I prefer that version.”

Emcee costume for the musical number "Willkommen" in Cabaret on Broadway

For Scutt, much of Cabaret is poetic, abstract, open to interpretation. And no character is more fluid than Eddie Redmayne’s Emcee. First appearing in “Willkommen” in a child’s party hat, a mantle of mischief as delicate as paper, the Emcee conducts with black rubber fetish gloves, encouraging the antics of his misfit toys.

But, as the Nazis start to rise, “his mask starts to be stripped off,” Scutt says. “He literally takes his wig off in one scene, and then from that point on, he becomes a skeleton and a clown. He's kind of like a cautionary tale for me.” The skeleton, a goblin in semi-sheer black fabric, clinks his claws like coins in “Money,” part Babadook, part propaganda, all horror vernacular. However, in tackling the rise of white supremacy, Scutt says he and Frecknall sought to look at “the responsibility of the white man as master of ceremonies” in the oppression of Jewish people, people of color, queer, and trans people. As facism becomes the rule of law, beige blots out the colors, textures, and markers of individuality with which we’ve become familiar. Makeup-free faces, neat, slicked-back hair, and fawn-colored suits complete a new uniform, one of chilling sameness.

Emcee costume for the musical number "Money" from Cabaret on Broadway

For Scutt, that gives this Cabaret a chilling resonance to contemporary events, as there's been a rise again in inflammatory rhetoric and violence against queer people. At the same time, this production has been the most emotionally authentic piece he's ever done. In seeking to give company members ownership over their queerness, their artistry, their individuality, Scutt has affirmed his own queer identity. 

“Cabaret has been really, truly, the first show where I feel like it has demanded the truth from me,” Scutt says. “The piece just pulls it out of your heart. It is rooted into your heart and it demands that you show yourself, and stand up for yourself, and stand up for the people whose views you share. And I think that that has become a beacon for me of what to expect from my work and my collaborations…I've done many, many projects that are large-scale, but none of them have fed me in the same way because I'm able to pour out my heart in a way that we never normally get the opportunity to, as designers. There's authorship in that. There's collective authorship in what each and every one of the creatives on the show are doing. It's the most dear experience. It's incredible.”

https://www.playbill.com/article/in-cabaret-set-and-costume-designer-tom-scutt-wanted-to-celebrate-queer-individuality?fbclid=IwZXh0bgNhZW0CMTEAAR2aihorhZj0BtjAZOvmD0tc6BRbLQnotZ8zGyuWH2RFcdJEGOer_ORdYo8_aem_ATYeABJ1gSDP9lgfa9qTWwKZqhnxAQqKtnLfC-tjLW4WDzSrHMiM4vl5ZQPVY_JJuXApCLZG0EYmKgtvdihbdzaW

[bespokeredmayne]

Report: Eddie Redmayne’s lengthy commitment to Cabaret on Broadway — and its whopping budget

A exclusive report today from Philip Boroff and his Broadway Journal says Eddie Redmayne is committing to an expensive New York production of Cabaret for six months. ‘CABARET’ IS COSTLIEST BROADWAY REVIVAL

by Philip Boroff 

EXCLUSIVE: Investing in Cabaret  at the August Wilson Theatre this spring might seem like a safe bet, after the success of the Kander & Ebb classic in London and earlier productions in New York.

That's until you see the price tag: $24.25 million, a record for a Broadway revival.

Broadway Journal reviewed a preliminary budget and recoupment chart for the transfer from the West End, which is being presented by the multinational theater operator and producer Ambassador Theatre Group and U.K.-based Underbelly, which creates shows and festivals. Tony and Oscar-winner Eddie Redmayne will reprise his role as Kit Kat Club emcee on Broadway. 

Revivals of musicals by John Kander and Fred Ebb have been golden on Broadway, particularly the concert version of Chicago, now in its 27th year; and two Roundabout Theatre Co. engagements of Cabaret. This production, which follows several new musicals into the financial stratosphere, needs to be a smash to repay investors. 

Cabaret‘s largest line item is its $9.4 million physical production. That includes millions from investors to transform the August Wilson into a Weimar-era nightclub, designed by Tom Scutt, where the show will be performed for an audience of about 1050. (There’s also a pre-show with actors and musicians interacting with the audience.) Another $1.5 million is allocated for a “refurbishment reserve,” presumably for cost overruns. A production spokesman declined to comment for this story.

For the 2021 premiere, Ambassador Theatre Group paid most of the expense of renovating London’s Playhouse Theatre (where the show’s performed in the round), someone familiar with the production said. As is standard in the industry, backers benefit from the sale of tickets but don’t share in revenue from drinks or food.

The New York production is what’s known as a related-party transaction: ATG is both producer and landlord. It recently bought a majority stake in the August Wilson along with Jujamcyn Theaters’ four other Broadway venues.

One of the busiest players on Broadway, ATG and subsidiary Sonia Friedman Productions are producing four of the 16 plays and musicals opening this season through December: The Shark is Broken, Gutenberg! The Musical!, Merrily We Roll Along and Appropriate (with Second Stage Theater). It’s controlled by Providence Equity Partners, a mammoth private equity manager that buys companies with the eventual aim of reselling them at a profit.

Cabaret must thrive to survive, requiring a weekly $1.2 million at the box office to pay its bills. That’s one of the biggest nuts on Broadway, even more than the time-travel spectacle Back to the Future projected in its recoupment chart. Back to the Future‘s home, the Winter Garden Theatre, has about 50 percent more seats than the reconfigured August Wilson, which will lose about 200 seats in the renovation.

Investing may be most appealing for patrons who prioritize backing a prestigious and artful show (and a leading Tony contender) over return on investment. Rebecca Frecknall’s dark revival won seven Olivier Awards last year in London, including for Redmayne. He’s committed to reprising his role for six months, two people familiar with the production said. ATG and Underbelly haven’t disclosed details about the transfer, including casting.

When it opened in London in 2021, Cabaret got flak on social media for its prices, now as much as £375 (equivalent to about $465, which includes a light three-course meal and champagne). Producers have told investors that the show played to 96 percent occupancy through July, with the highest average ticket price in London.

Broadway seats may be costlier. The average ticket at 110 percent capacity of the August Wilson — i.e. with premium pricing — is projected to be $248. That’s approaching Hamilton in its peak years, when it was charging as much as $849 a ticket.

If Cabaret can command that $248 average and sell out — grossing $2.1 million a week — recoupment will take about a year. (Hamilton, which cost half as much as Cabaret and has low running costs, was distributing profits six months after opening night.)

By selling out with an average ticket of $176 — Sweeney Todd  territory — Cabaret‘s recoupment would take closer to two and a half years.  With an average ticket of $158 — $1.3 million a week — recoupment would take four and a half years. (Projections in this story are based on recouping $20.9 million, which excludes Cabaret‘s reserves, deposits and advances; and receiving a $3 million state production tax credit, which can take years to get to investors. If the show dips into reserves during construction or the run, recouping may take longer.)

Musical revivals have gotten ever-pricier to produce, but none has approached Cabaret. For example, Sweeney Todd was capitalized at $14.5 million and appears to be on track to recoup later this fall, after about 33 weeks. Hello, Dolly! was capitalized at $16 million in 2017 (about $20 million today) and earned a small profit; last year’s $16.5 million Funny Girl  recouped and is expected to make a profit.

Shows that required extensive renovations have a mixed record. Most recently, Here Lies Love, the $22 million disco-themed historical drama around the corner from the August Wilson, is struggling at the box office; whereas Harry Potter appears to be enjoying a long life in ATG’s souped-up Lyric Theatre, after producers trimmed the two-part show to one. But it arrived from London at considerable expense. In addition to Harry Potter’s $35.5 million capitalization, ATG, which competed against other landlords for the play, spent tens of millions of dollars clearing out and renovating the Lyric, Michael Paulson reported in the New York Times.

Revivals are typically short-lived, Cabaret as well as Chicago being obvious exceptions. The Roundabout Cabaret revival directed by Sam Mendes and Rob Marshall opened at the Henry Miller’s Theatre in 1998 and ran through 2004. It initially starred Alan Cumming, who stepped in again when the Roundabout revisited the revival in 2014.

Two decades ago, the Roundabout bought its revival’s most recent home, Studio 54. The nonprofit company, with help from the city of New York, paid $22.5 million for the real estate, which looks like a bargain today.

[degabrielekitchensmarketing]

How to Plan Your Bathroom Renovations in Sydney?

Bathroom renovation projects in Sydney or other places allow us to transform dull spaces into beautiful and functional spaces. Know the top trends in bathroom renovations that are ruling in Sydney, and have a look at the tricks to plan your bathroom renovation successfully.

Popular Bathroom Trends in Sydney in 2024

Sydney's design ethos combines modern sophistication and coastal allure. Discover how to infuse these elements into your bathroom renovation project. From sleek minimalism to the embrace of natural textures, we'll show you how to craft a space that exudes style and practicality.

Coastal Oasis

Experience the charm of Sydney's coastal ambiance by incorporating soothing oceanic hues like soft blues, sandy beiges, and crisp whites into your design palette. Dive into selecting tiles, fixtures, and accessories that offer the tranquility of a seaside escape, right in your own home.

Luxurious Retreats

Craft a luxurious bathroom experience within your budget in a Sydney home. From indulgent freestanding tubs to spa-like showers, explore the avenues to infuse opulence into your renovation project, elevating it to a realm of unmatched comfort.

Space-Savvy Solutions

Sydney's urban landscape often demands innovative space utilization. Get ready to explore the smart storage solutions, compact fixtures, and layout optimizations that can maximize even the smallest of bathroom spaces, transforming them into organized sanctuaries.

Natural Elements

Connect with Sydney's innate affinity for nature by incorporating materials like timber, stone, and greenery into your bathroom design. Find the serenity of indoor plants thriving in the bathroom environment, bringing the outdoors inside.

Vintage Revival

Pay homage to the rich architectural heritage of Sydney by integrating vintage elements into your renovation. From classic clawfoot tubs to retro-inspired fixtures, infuse your bathroom with a timeless charm reminiscent of the city's storied past.

Technology and Innovation

Sydney's penchant for innovation extends to its bathrooms. Explore cutting-edge technologies such as high-tech toilets and smart mirrors that will elevate your daily routine to unprecedented levels of convenience and sophistication at the time of bathroom renovation in Sydney.

Plan Your Bathroom Renovation in Sydney: A Guideline to Follow 

List Down Your Bathroom Likes and Dislikes: Explore the current bathroom to identify what works and what doesn't. Create a scrapbook of desired features, fixtures, and fittings to guide your renovation vision.

Consider Plumbing and Electricity: Minimise repositioning of plumbing and electrical outlets to save on costs. Assess the compatibility of existing infrastructure with new fixtures and fittings.

Measure Your Space: Map the room to determine available space for new installations. Prioritize storage solutions and ensure proper waterproofing in wet areas.

Finalize Finishing Touches: Choose finishing touches that complement your bathroom fittings and elevate the overall aesthetic of the space. Opt for large tiles to create a sense of spaciousness or mosaic tiles for intricate detailing.

Position Towel Rails and Holders Properly: Strategically place towel rails and toilet roll holders for convenience. Ensure towels are easily accessible, and the toilet roll is within reach from a seated position.

Conclusion 

So, plan your bathroom renovation project smartly and give a new life to your boring bathroom. To complete this task flawlessly, be sure to partner with the experts who offer professional bathroom renovation in Sydney. But when finding bathroom renovation experts, be sure to find one after a thorough and proper research work. Always try to find companies that have good reviews. Be sure to keep an eye on the pricing as well to ensure the project stays within your budget.

[fuckinuhhh]

Architectural Finds, 06/24/2023

My walk today was a brief 20 minutes, I was meeting up with a friend from upstate for some chai who had come down the night before to stay with some other friends. We met up at the Chai Spot on Mott St. (which I definitely now recommend) and we relaxed in their backroom lounge with our chai's for 45 min or so. She eventually had to leave to catch her bus back upstate & I walked her to the subway stairs hugged her and said goodbye. Feeling the warm weather on my skin and the caffeine in my veins I decided to walk up Broadway, here were some of the architectural highlights.

This cute turret room on the top of the building on the NE corner of Bleecker & Broadway. Doing the smallest ammount of googling I am finding out this was Peter Venkman's (Bill Murray) apartment in Ghostbusters 2???? ok.

It just looks like it would be such a whimsical little tower to hang your hair from, idk.

Building Facts: Built in 1891 as the Manhattan Savings Institution, also known as Bleecker Tower. Architect Stephen Decatur Hatch.

Built in the Romanesque Revival style with arches and ornaments, as well as the red sandstone and signature rough cut stone of this style on the base of the building (definitely why it caught my eye, I love Richardson Romanesque/romanesque revival).

The tower on top eludes my brief internet search, but if anyone has pictures of the inside please direct them to me.

Next up we have this lil copper cutie who looks like it just got a face lift judging by the shiny copper facade on top. It is currently a FootLocker so hopefully they're treating her nice.

Building Facts: (obv) Built in 1889 by Architect Alfred Zucker.

The menacing gargoyles are cute.

(maybe more of an opinion than a fact, but) there used to be a bookstore called Shakepeare's on the bottom floor and the top floors were 1-per-floor studio spaces for artists to live/work in, & I wish that was the case today, not footlocker and high rent.

MOVING ON, we've got this pair of cuties. Don't they look like the best of friends holding hands ready to face the world side by side? These guys are 734 (left) and 732 (right) Broadway.

734: Built in 1872 by Architects David & John Jardine in Cast-Iron Neo-Grec style. Until ~2015, the facade had become a rusted brown/black mess until they cleaned and repainted it.

732: Built in 1854 by unknown.

This little building has a complicated past but ill try and summarize the small dig I just did on it. Originally it was a 3.5 peaked-roof building as a set of 3 houses for wealthy sisters (daughters of John Mason) from 732-736 designed by an undocumented architect. It underwent large renovations twice in its life, and one small renovation adding the Treffurth's sign on the roof cornice. The first renovation happened in 1885 by Henry Janeway Hardenbergh (god write a romance novel already would you) and allowed the introduction of E. A. Mac's bookstore to take the place of the earlier saloon on the bottom floor. It was then renovated in 1900 by Bruno W. Berger to the Cast-Iron more or less Renaissance Revival facade we see today.

-

Im going to keep these next ones brief because I'm beginning to lose steam :)

1 Astor Place

Built in 1883 by Architects Starkweather & Gibbs (they also designed the Potter Building). Brick & Terracotta above Cast-Iron ground floor facade.

Originally it was used as a hotel and boarding house with ground floor stores. The harsh vertical motifs on the exterior caught my eye, and I was drawn in even more by the harmony of the design elements and color choices.

10 Astor Place aka 444 Lafayette St

Built in 1876 by Architect Griffith Thomas to the same owner as the above building, Orlando B. Potter, who seemed to have impeccable taste in architecture.

I love the ornate implementation of the painted white Cast-Iron in the arches and pillar ornaments on this one. As well as the eye-popping contrast of the white paint on dark red brick, kind of a juxtaposed take on themes seen in the building above with the way the red and black elements seem to blend in together in harmony.

21 Astor Place aka Clinton Hall

Built in 1891 by George E. Harney.

Originally a Library for the New York Mercantile Library. I love the classic industrial look its such a strong look while they still tried to give elements of the facade some artistic nuance like in the arched windows and dark banding.

Only Caught the side of this Collonade building but doing more research on it, it's owned by the Blue Man Group????

Built 1831 by Seth Greer and historically home to family member's of the Astor & Vanderbilt families, it is the oldest building I took note of today.

And of course, how could I not be drawn into the Cooper Union Foundation building's charm. It stands seemingly so alone in the heart of Manhattan, close to a modern miracle.

Built in 1859 by Frederick A. Peterson in the (what I'm finding now to be called) Rundbogenstil German neo-Romanesque style.

I didn't realize it at the time but this picture also seems to be the back of the building. Still just such ornate and well-balanced design!

HONORABLE MENTIONS: This house on top of this building and the cute lil mansard moment next to it, which I searched and searched for but I cant seem to remember where it is.

Edit: I found it, there were street signs in the picture whoops. The one with the cottage is 203 E 13th Street also known as Pear Tree Place. And the little guy with the mansard roof is 109 3rd ave, both of them resting above Kiehls 3rd ave.

DISHONORABLE MENTIONS: This NYU Alumni building. Who designed you, they should be ashamed. What is going on with your offset, unbalanced terraces in the back? Awful. What was the point of all of these different colored brick patches?? Uncomfortable, awful. It looks like a neutral-toned Duplo set.

Built in 1986 and I cant even find the architect so you know they weren't very proud of it.

[venicepearl]

Holker Hall is a privately owned country house located about 2 km to the southwest of the village of Cartmel in the ceremonial county of Cumbria and historic county of Lancashire, England. It is "the grandest of its date in Lancashire ...by the best architects then living in the county." The building dates from the 16th century, with alterations, additions, and rebuilding in the 18th and 19th centuries. The 19th century rebuilding was by George Webster in Jacobean Revival style and subsequent renovations were by E. G. Paley. Hubert Austin had a joint practice with Paley by the 1870s and they both rebuilt the west wing after it was destroyed by a major fire in 1871, only a decade after Paley's previous work on the structure. The fire also destroyed a number of notable artworks. Holker Hall is Paley and Austin's "most important country house commission." The architectural historian Nikolaus Pevsner expressed the opinion that the west wing is the "outstanding domestic work" of Paley and Austin. In 1970 the hall itself, together with its terrace wall, were designated Grade II* Listed buildings. The house stands in an estate of about 80 hectares, and is surrounded by formal gardens, parkland and woodland. Within the grounds are six structures listed at Grade II.

Since becoming a private house following the Dissolution of the Monasteries, the estate has never been sold, having passed by inheritance from the Preston family to the Lowther family, and then to the Cavendish family. The house and grounds are open to the public at advertised times on payment of an admission fee.

In chronostratigraphy, the British sub-stage of the Carboniferous period, the "Holkerian" derives its name from Holker Hall.

[oliviamutantjohn]

Transforming Your Room: An Overview to Effective Home Enhancement Projects

Intro: Home is where the heart is, and what better method to enhance your home than with home renovation tasks? Whether you're wanting to raise the functionality of your home, add worth to your home, or just freshen the aesthetic appeals, there's no lack of options to consider. In this post, we will discover the world of home renovation and give you with useful understandings and tips to help you get started on a successful change journey.Paragraph 1: Home enhancement encompasses a large range of tasks, both large and small, that can raise the comfort and design of your living environment. From renovating your kitchen or restroom to updating your outside room, the opportunities are endless. When preparing for a home renovation job, it's important to establish clear goals and establish a reasonable spending plan. This will certainly aid you prioritize your requirements and assign resources accordingly. Additionally, it is essential to research regional regulations and obtain any kind of required authorizations before starting the work. By doing so, you can ensure a smooth and problem-free remodelling process.Paragraph 2: One of the vital factors to consider in any home renovation project is to strike an equilibrium in between

functionality and aesthetic appeals. You want your living room to not only look lovely but likewise offer your daily requirements. This can include optimizing storage remedies, improving energy effectiveness, or creating an open-concept design to take full advantage of area use. Additionally, selecting the appropriate materials and coatings can dramatically influence the total visual appeal of your home. From picking eco-friendly options to exploring the most recent design fads, it is essential to stay informed and make notified choices that straighten with your individual design and values.Conclusion: Home renovation projects can revive your home, giving a sense of satisfaction and contentment. By very carefully preparing your jobs, setting sensible

goals, and considering both capability and aesthetic appeals, you can embark on a transformation journey that will not just improve your home but likewise improve your lifestyle. So, whether you're a do it yourself lover or like to work with professionals, currently is the perfect time to start your home renovation trip and produce a space that genuinely shows your one-of-a-kind individuality and lifestyle.

Read more here wiring installation

[hometoursandotherstuff]

Thanks to Curieously for sending this lovely 1903 Georgian Revival estate in Hinsdale, Illinois. It has 8bds, 8ba, $9,999,999.

Lovely sunny hall enters into a dining area.

I can't resist a pink room and this one has a beautiful bar behind a pink lattice wall.

Pretty pink sitting area with lots of natural light.

What a lovely breakfast room on the sun porch. Love the fountain.

Wow, the gorgeous lattice work is even on the ceiling. It looks beautiful, and I'm sure they must have a staff to clean it.

As is typical of large homes, there is always an assortment of places to sit.

What a delightful blue fireplace and banquette in this dining room.

This gray living room is more formal, even has a more formal lattice ceiling. Every colorful home in this home has a different design.

The large kitchen was renovated has gorgeous dark cabinetry and amazing marble-patterned quartz.

I like this better than the dull white quartz that they always pick on HGTV.

The curving stairs are Georgian, but the decor is Art Deco.

What a delightful floral bedroom.

Here's a home office where they must entertain clients.

Luxurious bedroom with a bed alcove.

Interesting- a retro lounge even has a disco ball.

A round room for music and relaxing.

Plus, look at this- a vintage bowling alley.

2.79 acres of beautifully landscaped grounds.

The patio and pool.

Truly a beautiful property.

Huge home and every room is beautifully decorated.

https://www.redfin.com/IL/Hinsdale/505-S-County-Line-Rd-60521/home/14060312

[nitrosodiumfmp]

Looking Forward (and Back)

I'm feeling a little better mentally about the whole project; I've cleared up my bibliography and also altered my project proposal a little. This time I did attempt to make it more open-ended, and that's because I've thought about some potential renovations to the idea.

A lot of this has been inspired by Doom - the originals, not the remakes. They're really good games, and the art and level design are very intriguing. I watched a very interesting video by GermanPeter about what the levels could be as real-life places, and it made me think about the abstract, surreal nature of the visuals. It's something that could be quite interesting to replicate. For example, in the video, Peter suggests that MAP02, The Underhalls, is not a sewer system as it first appears, but actually a network of flooded subway tunnels, with various stops where you can scavenge for loot and fight demons.

I've also gotten quite hung up on the Sinister Workshop vs Dark Tomb debacle, and I think the best way to get around this is to combine the ideas into one cohesion, called "Sinister". It'll be chunky, mechanical and industrial, while also appearing fantastical and almost Gothic. This style has been proven to work - once again, look at Doom.

Some of the Doom maps do still carry a sense of dread and unease, as you creep through darkened corridors, expecting an ambush at any moment. But they also have the more adrenaline-fuelled segments you'd expect from a shooter, running circles around a hungry horde and blasting them into mincemeat. Doom does attempt full-on horror in some segments, too. There's a map in the cartoonishly malicious Plutonia Experiment called Hunted, where you're trapped in a maze filled with Archviles (particularly resilient demons who can revive the dead for extra fun), not enough ammo to kill them all, and all the while, as if to mock you, it plays the bunny song from the end of Doom 2.

A lot of Doom 1 maps had this more horror focus, actually. Obviously nowadays, it's not scary, but back then, when you were confined to keyboard controls, a crap resolution, and the old-school software renderer that made dark areas DARK, it was probably pretty spooky. With this ethos, I can have my cake and eat it - I can keep making the slower horror-atmosphere game, and also make it more active.

This is what I want to do. This is the vibe I want to replicate. Here's my idea for more fleshing-out. Essentially, you're in the afterlife - the god of death has entered a deep sleep, and the world is being subverted by his altered consciousness. Since nobody can properly die anymore, only existing as malformed ghosts in the warped remnants of the afterlife, you've been sent to wake the god up from his slumber and banish these spirits back to the ethereal realm. The surrealism still works here - it's all in a dream-like world, but it's also the afterlife. Think of some of the music videos for TOOL songs, where strange visuals are used to signify the dying process, or passing in and out of consciousness. This helps to explain the inevitable weirdness of the environment, and also relates to many of the interesting themes that people have extrapolated from the original Midas myth: dreams, surrealism, illusion, conspiracy, myth.

And, a final note, enemies. Also inspired by Doom (what can I say, I love boomer shooters) I think I'll have enemies that are 2D sprites. They'll be fun to draw, easier to animate, and help to make the world seem off. If the world is 3D and they're not, it'll give everything an optical illusion vibe, which is what I want.

A final final note: I think I might call it Sinister Afterlife. But it's just Sinister for now.

[jordanianroyals]

9 January 2024: Queen Rania visited the town of Wadi Musa in the governorate of Ma’an, where she met with the founders and beneficiaries of a number of local economic empowerment programs, and a group of proactive youth from across the governorate spearheading local initiatives.

During the visit, she met with Yousef Al Falahat, the founder of Thakafat, an initiative that creates financial empowerment opportunities for community members by connecting them with tourists seeking an authentic Jordanian experience.

Thakafat’s various projects, the majority of which are women-led, allow tourists to learn more about the area and its people by partaking in experiences including cooking, craft making, and spending time with local residents. Sourcing the supplies it uses for its projects from local merchants, including grocery stores and bakeries, Thakafat not only guarantees the authenticity of the experiences it offers, but also contributes to the sustainability and growth of local enterprises. (Source: Petra)

A member of Thakafat’s team, Anmar Al Jbour, told Her Majesty about the inspiration behind the initiative and shared their plans to expand beyond Wadi Musa to Al Salt and Madaba, while others shared details about how they launched their initiatives with Her Majesty.

Her Majesty then stopped by Esraa Kitchen, a Thakafat project that introduces tourists to Jordanian cuisine by allowing them to sample local food and participate in its preparation. The kitchen, which provides part-time work opportunities to local women, has welcomed over 4,200 visitors from 32 countries around the world to date.

Queen Rania also visited the Nabataean Ladies Cooperative in Wadi Musa, where its board members and president, Fawziyeh Hasanat gave the queen a tour of the showroom and silver jewelry-making workshop.

Established in 1999, the cooperative aims to revive the art of Bedouin silver making and provide a unique tourist experience, while also creating jobs for local women.

The cooperative had previously received a financial grant from a program run by the Jordan River Foundation and funded by the Ministry of Planning and International Cooperation. The grant facilitated the cooperative’s purchase of machinery and raw materials required for the making of silver jewelry, and helped train 26 of its beneficiaries in the craft. With assistance from the Jordan River Foundation, the cooperative also managed to market its products at the Jordan River Designs exhibition.

The Queen then visited Abu Elias Restaurant, which serves traditional Jordanian dishes, to meet with a group of youth from across Ma’an working on creating and expanding their own community empowerment projects. Their initiatives range from projects in the arts, environmental awareness, translation and typing, chocolate making and molding, to volunteer work with families in need, including the delivery of assistance packages and housing renovations.

At the meeting, Her Majesty commended their efforts and drive, as well as the originality of their projects, which have benefited countless local families and community members.