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rubickk7 · 3 years

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Fic Interview Meme

Thanks for the tag @lizardkingeliot. Always love the chance to talk about myself.

How many works do you have on AO3?

45. I have a couple anon up there for exchanges waiting to go live.

What’s your total AO3 wordcount?

799,028 – I’ve been writing since May 2020. Will hit 800k next weekend when my next exchange is revealed.

How many fandoms have you written for and what are they?

Here’s the list from my dashboard – 20 of these are drabbles.

The Magicians (TV) (23)

Original Work (3)

Harry Potter - J. K. Rowling (2)

Buffy the Vampire Slayer (TV) (2)

Twilight Series - All Media Types (1)

Loki (TV 2021) (1)

A Knight's Tale (2001) (1)

The Avengers (Marvel) - All Media Types (1)

The Old Guard (Movie 2020) (1)

Angel: the Series (1)

Crazy Ex-Girlfriend (TV) (1)

Superman & Lois (TV 2021) (1)

Labyrinth (1986) (1)

Daria (Cartoon) (1)

Red White & Royal Blue - Casey McQuiston (1)

The Mummy Series (1)

Star Wars Sequel Trilogy (1)

Shadow and Bone (TV) (1)

10 Things I Hate About You (1999) (1)

Marvel Cinematic Universe (1)

Venom (Marvel Movies) (1)

The Magicians - Lev Grossman (1)

The Avengers (Marvel Movies) (1)

The Falcon and the Winter Soldier (TV) (1)

What are your top 5 fics by kudos?

There's No Place Like Home – Queliot, fake-dating post-mosaic

i'll put your poison in my veins – body swap fix-it fic

How to Make Two Stubborn Wizards Kiss – HP Drarry soulbond fic

The Only Exception (with the floppy hair) – Queliot soulmate fic

Quentin Coldwater and the Universal Truth (That a Slytherin as hot as Eliot Waugh would never be attracted to a Hufflepuff such as himself) – TM/HP/P&P Fusion.

Do you respond to comments, why or why not?

Yep. I enjoy it when authors respond to mine, so I reply to others. If the comment is just emojis or a few nice words, I may not respond, basically because I don’t expect responses on those when I leave them. I do appreciate anyone who leave a comment, from just one emoji to full capital keyboard smashes to long comments full of your favorite lines. Each one makes my day.

What’s the fic you’ve written with the angstiest ending?

Hrm. Typically I write fluff and happy endings, but a couple I did for exchanges ended pretty ambiguously – so probably either ashes in my mouth (TM, Niffin!Alice & Q) or baby did a bad bad thing (TM, Q23/Q40)

Do you write crossovers? If so what is the craziest one you’ve ever written?

I was going to say no, but yeah, I did a Magicians/Harry Potter/Pride & Prejudice fusion fic for my second fic ever. I guess that one was pretty crazy, trying to merge three universes. I’m pleased with how it came out; it was a lot of fun to write.

Have you ever received hate on a fic?

Not to my face. So, nope.

Do you write smut? If so what kind?

Yes. Typically M/M. I have a few F/F and one M/F.

Have you ever had a fic stolen?

Not that I know of.

Have you ever had a fic translated?

Nope.

Have you ever co-written a fic before?

No. @hoko-onchi-writes and I have talked about it, and I think it’ll happen one day.

What’s your all time favorite ship?

Queliot, although these days I enjoy many ships – Jaskier/Geralt, Clint/Coulson, among others

What’s a WIP that you want to finish but don’t think you ever will?

I don’t have any incomplete fics.

What are your writing strengths?

Finishing fics? Capturing a character’s personality through dialogue. I don’t know.

What are your writing weaknesses?

Brevity. In the exchanges I’ve done, I’ve had the highest word count fics in over half of them.

What are your thoughts on writing dialogue in other languages in a fic?

I haven’t done this. I’m fine with it, when I read it in other fics. I think I usually just say “He chants the Romanian words” or whatnot.

What was the first fandom you ever wrote for?

The Magicians popped my fanfic cherry.

What’s your favorite fic you’ve written?

I hate this question. I don’t know. I like them all; and my range of what I've written is pretty across the board. I guess here’s my top eight, in no particular order:

There’s No Place Like Home – fake-dating post-mosaic. This one felt like a romcom as I wrote it, which was partly why I enjoy it so much. I feel like the humor was pretty well done. Thanks to @freneticfloetry for the bunny.

Love Me To Life – Written for a fairy-tale exchange, based off the Pygmalion myth. The bunny for this one hit me while I was standing in line for Asian food, and it was just a delight to watch it come to life. I figured out various plot points along the way, and it just fills me with delight to reread it.

i’ll put your poison in my veins – my first real fix-it. I was proud of myself for sticking with the teen rating, even though I really wanted to put some smut in the end. It just felt good to write a real fix it.

so hot, so sweet, so whet my appetite – my first OW. I Love these two so much; I’m expanding their universe into an original novel.

The Only Exception (with the floppy hair) – this flowed out of me in 3 days. I love the soulmate trope; it’s my favorite, and this was the first one I ever wrote. Thanks for the inspo, @freneticfloetry.

Professor Coldwater: Social Maladjustment 101 – Pretty sure I’d get murdered in my sleep if I didn’t include this one. My longest fic, my goal was to write angst and smut. And I did that.

you said the words, and they altered the universe – TM, book/show fusion. Sort of. I wrote this probably when I was at my height of loving Queliot and the TM fandom, and I think it shows. I was just so enamored of this fic as soon as I finished it. I still love it. Just not that intensely, I suppose.

if I get burned (at least we were electrified) – TM, Wickoff. I just enjoyed writing a fic from a song, and I like how I did it with the flashbacks.

Tagging @mixtapestar @hoko-onchi-writes @freneticfloetry @shmazarov @eidetictelekinetic

#rubimemes #fic meme

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spiders-hth-is-an-outlier · 4 years

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I reblogged something earlier this morning about how even when queer men are present on film, movies tend to find a way to soft-shoe their queerness, to give audiences a kind of escape hatch, something to focus on that isn’t their relationships with men.

And it’s something I think about a lot, because when you focus on “identity,” then -- it’s not that hard, anymore, to find Representation in popular culture. Because identity is fairly comfortable for straight people; most straight people now know an out person or five; most straight people have internalized the message that some people Just Are That Way and it’s okay to let them exist -- even that it’s pretty awful to shame and torment them for Being Who They Are. Like, even fucking Disney keeps trolling us with “First Gay Character In the Blah-De-Blah!” which is inevitably bullshit, but they do it because they know it’s a nice thing to say, that (straight) people will nod and smile and think, yes, there should be some gay people somewhere, for Representation! The numbers could stand improvement, but they are actually pretty good for things like “do you think gay people should exist and be in movies?”

Something else happens when you try to foreground not a character’s identity, but their relationships. Because an identity-based representation mindset is inherently distancing, you know? If you are a straight viewer -- and remember that straight viewers are The Audience for all mainstream media; the basic function of numbers and economics demands it! -- a character that’s presented to you as a gay character is easy to kind of process and digest. You know gay people; this person is, in at least some way, like your cousin or your friend or whatever. There’s a box in your head that makes this character comprehensible and acceptable, which didn’t use to be the case! So that’s great!

But what we’re interested in and attracted to in fiction isn’t the identity of the characters, it’s the stories. Anyone will be relatable to us -- the weirdest or worst or most alien people in the universe will be relatable to us! -- if we’re taken through a story that requires us to identify what their emotions are, what they want, and what it’s going to cost them to get it. That’s how people process a story. There’s a joke I’ve heard a lot about how bulletproof a Romeo & Juliet story is -- that you can write about a young dinosaur who loves a robot, and as long as Society objects to their union, you’ll have the audience in tears by the midpoint, going I just think that dinosaur and robot should have a chance! In fiction, people don’t identify with the identity of the characters, they identify with story beats. They identify with emotions.

And that’s what we’re really still afraid of, right? The Straight Audience is comfortable with the existence of people who live in the gay box, comfortable with being friendly toward them and supportive of them -- but once the story hinges on identifying with emotions of attraction and desire, well, The Straight Audience is now being put in the position of either following along with the story and allowing themselves to identify with those emotions, or noping out of the story altogether, of distancing from it or outright rejecting it. And for a lot of straight people, it’s a very, very different experience to watch a character you know is gay, versus to experience the story from the perspective of a character who wants to fuck that dude. And that’s how you get stories like The Imitation Game and Bohemian Rhapsody and DaVinci’s Demons (apparently; I haven’t seen that last one) -- where it’s allowable to say that the character has a queer identity, but not allowable to make the story about what it feels like to desire men.

And I get the bind that creators are in. The Straight Audience is your audience; it just is, at least when it comes time to find someone to pony up and pay for your film. if you try to sell a story where the emotional beats of the story demand that The Straight Audience surrenders those distancing boxes and invests in genuinely wanting your mlm character to achieve getting a man as the story goal -- you’re running the extremely real risk that your audience is just not going to stay with you through that. At best, it’s going to feel like a story that’s not for them so they never see it at all. At worst, they’re going to feel manipulated and pressured to vicariously experience an emotional reality that they have something invested in not experiencing. At worst, their ability to relate to a story of love or desire between two men is going to challenge their notion of what is and isn’t part of them, and people do not take kindly to that.

So everything kind of gets split off into Queer Films that just assume from the jump that the straights are not going to watch it so who cares, and Mainstream Films that require the drive-shaft of the story to be something else, something it’s safe for the audience to relate to. Which isn’t always bad! Like, I think The Old Guard is a great example of that being done well: Joe and Nicky exist, are mlm, are solid and likeable characters, and don’t really demand a lot from the viewer, other than not to be a total douchebag and object to their existence. People can clear that bar. And I do not have any issue with that! It’s fine, I have no notes.

But Joe and Nicky are not, from a story perspective, the protagonists of the film. You can make a solid argument for either Nile or Andy as the primary protagonist, since they both have story arcs that drive the action, and Booker is a really great antagonist. Joe and Nicky are around for the story, but it’s not their story. What works for them doesn’t work when constructing a mlm protagonist.

It seems to me like the cutting edge of moving the conversation from “is there a queer man in it?” to “are we telling a story where the audience can’t avoid this man’s queerness?” is in television, because of the nature of ensemble shows. If you’re making a Roswell New Mexico or a Shadowhunters or a The Magicians, you have this space to operate in, because if The Straight Audience is unable or unwilling to participate in this story, they can kind of mentally check out and still have other storylines, other characters, that they are willing to invest themselves in emotionally. And once the unwilling portion of your audience has safely checked themselves out -- while still being viewers of the show -- then you get to have these stories included, you get to have an Alex Manes or an Eliot Waugh whose story-driving wants and needs include men. A movie can’t do that. There aren’t enough plotlines or enough lead characters to allow a portion of your audience to opt out of some of them without them just, like, not going to see your movie at all.

But eventually we’re going to have to stop trying to play both sides against the middle by making movies about mlm that are aggressively not about their attraction to men. We’re kind of easing into discovering how The Straight Audience reacts to queer romcoms; that’s kind of the kiddie-pool level, since we’re already aware that straight folks tend to respond pretty well to “love is love” -- that dinosaur and that robot shouldn’t be kept apart by society, man!

Eventually, though, we’re going to have to deal with the fact that American masculinity is still, despite all the progress, constructed almost entirely around the two load-bearing pillars of Not a Woman and Not Gay, and it can be existentially challenging for straight men to allow themselves to invest in a story that’s about experiencing the world as a woman or as a queer man. Becoming absorbed in stories like that suggests that there’s no significant qualitative difference between themselves and a woman or a mlm, and -- that’s a real tough sell, especially in the midst of a massive cultural backlash against deteriorating gender distinctions, when anxiety about how to do masculinity is running high.

I don’t have a solution to this, except I guess the same way we pretty much solved the representation problem -- just chipping away at it over time. I just think it’s interesting to have lived through the decades when mlm representation became pretty normalized, and then to see what its limitations are, how you come to the end of that quest and you realize that there’s a whole new dimension of what it means to be inclusive of queer people in our cultural narratives.

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fuckyeahgoodomens · 4 years

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Jack Whitehall (Newton Pulsifer)

How does Newt develop during the series?

It’s a rites-of-passage story. At the beginning, he is a grounded, but tentative person surrounded by bigger, more confident figures. He is a rudderless man who doesn’t know what he is doing with his life who suddenly finds purpose, confidence and an ability to talk to people, especially women.

What has it been like working with Adria?

It’s been wonderful. She has done loads of great stuff in the past. She’s a brilliant actress and is very, very nice. I think we are doing very well creating the chemistry that is so vital to the relationship between Newt and Anathema.

How have you found it collaborating with David and Michael?

They’re both incredible. They’re such good actors, you could see them in either role. But this is perfect casting. Even at the read through, they were both already singing. The heart of what will make this work is their dynamic. That is the core of this piece. The great thing about working with people like that is that you soak up so much from them. You can learn a great deal from them. They’re so smart and so brilliant. You have to up your game with them.

Has it been beneficial to have Neil on set?

Absolutely. It has helped a lot. The huge fear with an adaptation is that you’ll mess it up and won’t do right by the writer. I was in an adaptation of Decline And Fall, and I was delighted that the Evelyn Waugh Society and his grandson were very pleased with it. You need to be very careful that you don’t cock it up for them. So to have the writer here helps make sure the drama is faithful to the book.

Did you feel under pressure approaching this project?

Yes. There was huge pressure because it was Terry Pratchett’s wish for this to be made. Before the read through, we were shown a picture of Terry and told in uncertain terms not to mess it up. I’ve never felt more pressure!

Have you enjoyed working with the rest of this cast?

Definitely. Michael McKean, who plays Mr Shadwell, is an absolute hero of mine. He’s a real legend in films like This Is Spinal Tap and Best In Show. I’ve admired him for a very long time. I’m very excited to be working with him. He’s very generous as a performer. He is really collaborative - his sort of comedy wouldn’t work otherwise. I’m also delighted to be working with Miranda Richardson. You’d be hard-pressed not to be a fan of hers. It’s really an incredible cast they’ve assembled.

Would you like to take on more of these dramatic roles?

Yes. I really enjoy playing parts like this. I like taking on characters who go on a journey, which is what Newt does. He has an emotional journey and is not just comic filler. You end up rooting for him. You can get pigeonholed and typecast in this business. So you have to do different things like this. This is a departure for me. It’s intimidating and you have to raise your game when you’re working with people of this calibre. But hopefully I won’t get found out!

#good omens #jack whitehall #newt #interview

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wildeoaths · 4 years

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LGBTQ Book & Film Recommendations

Hello! As someone who tries to read widely, it can sometimes be frustrating to find good (well-written, well-made) LGBTQ+ works of literature and film, and mainstream recommendations only go so far. This is my shortlist.

Some caveats: 1) I have only watched/seen some of these, though they have all been well-received.

2) The literature list is primarily focused on adult literary and genre fiction, since that is what I mostly read, and I feel like it’s easier to find queer YA fiction. Cece over at ProblemsOfABookNerd (YT) covers a lot of newer releases and has a YA focus, so you can check her out for more recommendations.

3) There are a ton of good films and good books that either reference or discuss queer theory, LGBTQ history and literary theory. These tend to be more esoteric and academic, and I’m not too familiar with queer theory, so they’ve largely been left off the list. I do agree that they’re important, and reading into LGBTQ-coding is a major practice, but they’re less accessible and I don’t want to make the list too intimidating.

4) I linked to Goodreads and Letterboxd because that’s what I use and I happen to really enjoy the reviews.

Any works that are bolded are popular, or they’re acclaimed and I think they deserve some attention. I’ve done my best to flag potential objections and triggers, but you should definitely do a search of the reviews. DoesTheDogDie is also a good resource. Not all of these will be suitable for younger teenagers; please use your common sense and judgement.

Please feel free to chime in in the replies (not the reblogs) with your recommendations, and I’ll eventually do a reblog with the additions!

BOOKS

> YOUNG ADULT

Don’t @ me asking why your favourite YA novel isn’t on this list. These just happen to be the picks I felt might also appeal to older teens/twentysomethings.

Aristotle and Dante Discover the Secrets of the Universe

Clap When You Land by Elizabeth Acevedo - poetry.

Felix Ever After by Kacen Callender - trans male teen protagonist.

Red, White & Royal Blue

Simon vs the Homo Sapiens Agenda

The Gentleman’s Guide To Vice And Virtue

The Raven Boys (and Raven Cycle)

> LITERATURE: GENERAL

This list does skew M/M; more NB, trans and WLW recommendations are welcomed!

A Little Life by Hanya Yanagihara. One of the most acclaimed contemporary LGBTQ novels and you’ve probably heard of it. Will probably make you cry.

A Single Man by Christopher Isherwood. Portrait of a middle-aged gay man.

Brideshead Revisited by Evelyn Waugh. M/M affair, British student high society; definitely nostalgic for the aristocracy so be aware of the context.

Call Me By Your Name by André Aciman. It’s somewhat controversial, it’s gay, everyone knows the film at least.

Cronus’ Children / Le Jardin d'Acclimation by Yves Navarre. Winner of the Goncourt prize.

Dancer From The Dance by Andrew Holleran. A young man in the 1970s NYC gay scene. Warning for drugs and sexual references.

Dorian, An Imitation by Will Self. Adaptation of Orscar Wilde’s novel. Warning for sexual content.

Fried Green Tomatoes at the Whistle Stop Cafe by Fannie Flagg. Two wlw in the 1980s. Also made into a film; see below.

Gemini by Michel Tournier. The link will tell you more; seems like a very complex read. TW for troubling twin dynamics.

Giovanni’s Room by James Baldwin. Another iconic M/M work.

Lost Boi by Sassafras Lowrey. A queer punk reimagining of Peter Pan. Probably one of the more accessible works on this list!

Lie With Me by Philippe Besson. Two teenage boys in 1980s France.

Maurice by E. M. Forster. Landmark work written in 1914. Also made into a film; see below.

Middlesex by Jeffrey Eugenides. An expansive (and long) novel about the story of Cal, a hermaphrodite, by the author of The Virgin Suicides.

Orlando by Virginia Woolf. Plays with gender, time and space. Virginia Woolf’s ode to her lover Vita Sackville-West. What more do you want? (also a great film; see below).

Oscar Wilde’s works - The Picture of Dorian Gray would be the place to start. Another member of the classical literary canon.

Saga, vol.1 by Brian K. Vaughn and Fiona Staples. Graphic novel; warning for sexual content.

Stone Butch Blues by Leslie Feinburg. An acclaimed work looking at working-class lesbian life and gender identity in pre-Stonewall America.

The Holy Innocents by Gilbert Adair. The basis for Bertolucci’s The Dreamers (2003). I am hesitant to recommend this because I have not read this, though I have watched the film; the M/M dynamic and LGBTQ themes do not seem to be the primary focus. Warning for sexual content and incestuous dynamics between the twins.

The Animals At Lockwood Manor by Jane Healey. Plays with gothic elements, set during WW2, F/F elements.

The Hours by Michael Cunningham. References Woolf’s Mrs Dalloway. Probably a good idea to read Virginia Woolf first.

The Immoralist by André Gide. Translated from French.

The Song of Achilles by Madeline MIller. Drawing from the Iliad, focusing on Achilles and Patroclus. Contemporary fantasy that would be a good pick for younger readers.

The Swimming Pool Library by Alan Hollinghurst. Gay life pre-AIDS crisis. Apparently contains a fair amount of sexual content.

What Belongs To You by Garth Greenwell. A gay man’s coming of age in the American South.

> LITERATURE: WORLD LITERATURE

American and Western experiences are more prominent in LGBTQ works, just due to the way history and the community have developed, and the difficulties of translation. These are English and translated works that specifically foreground the experiences of non-White people living in (often) non-Western societies. I’m not white or American myself and recommendations in this area are especially welcomed.

All Boys Aren’t Blue by George M. Johnson. The memoirs and essays of a queer black activist, exploring themes of black LGBTQ experiences and masculinity.

A People’s History of Heaven by Mathangi Subramanian. Female communities and queer female characters in a Bangalore slum. A very new release but already very well received.

Confessions of a Mask by Yukio Mishima. Coming-of-age in post-WW1 Japan. This one’s interesting, because it’s definitely at least somewhat autobiographical. Mishima can be a tough writer, and you should definitely look into his personality and his life when reading his work.

Disoriental by Négar Djavadi. A family saga told against the backdrop of Iranian history by a queer Iranian woman. Would recommend going into this knowing at least some of the political and historical context.

How We Fight For Our Lives by Saeed Jones. A coming-of-age story and memoir from a gay, black man in the American South.

In The Dream House by Carmen Maria Machado. Another acclaimed contemporary work about the dynamics of abuse in LGBTQ relationships. Memoir.

Girl, Woman, Other by Bernardine Evaristo. Contemporary black British experience, told from the perspectives of 12 diverse narrators.

> POETRY

Crush by Richard Siken. Tumblr loves Richard Siken, worth a read.

Diving Into The Wreck by Adrienne Rich.

He’s So Masc by Chris Tse.

If Not, Winter: Fragments of Sappho, trans. Anne Carson. The best presentation of Sappho we’re likely to get.

Lord Byron’s works - Selected Poems may be a good starting point. One of the Romantics and part of the classical literary canon.

Les Fleurs du Mal by Charles Baudelaire. The explicitly lesbian poems are apparently in the les fleurs du mal section.

> MEMOIR & NONFICTION

And The Band Played On: Politics, People and the AIDS Epidemic by Randy Shilts. An expansive, comprehensive history and exposure of the failures of media and the Reagan administration, written by an investigative journalist. Will probably make you rightfully angry.

How to Survive A Plague: The Inside Story of How Citizens and Science Tamed AIDS by David France. A reminder of the power of community and everyday activism, written by a gay reporter living in NYC during the epidemic.

Indecent Advances: The Hidden History of Murder and Masculinity Before Stonewall by James Polchin. True crime fans, this one’s for you. Sociocultural history constructed from readings of the news and media.

Queer: A Graphic History by Meg-John Barker. It’s illustrated, it’s written by an academic, it’s an easier introduction to queer theory. I still need to pick up a copy, but it seems like a great jumping-off point with an overview of the academic context.

Real Queer America by Samantha Allen. The stories of LGBTQ people and LGBTQ narratives in the conservative parts of America. A very well received contemporary read.

The Argonauts by Maggie Nelson. Gender, pregnancy and queer partnership. I’m not familiar with this but it is quite popular.

When Brooklyn Was Queer by Hugh Ryan. LGBTQ history of Brooklyn from the nineteenth century to pre-Stonewall.

FILMS

With films it’s difficult because characters are often queercoded and we’re only now seeing films with better rep. This is a shortlist of better-rated films with fairly explicit LGBTQ coding, LGBTQ characters, or made by LGBTQ persons. Bolded films are ones that I think are likely to be more accessible or with wider appeal.

A Single Man (2009) - Colin Firth plays a middle-aged widower.

Blue Is The Warmest Colour (2013) - A controversial one. Sexual content.

Booksmart (2019) - A pretty well made film about female friendship and being an LGBTQ teen.

Boy Erased (2018) - Warning for conversion therapy.

BPM (Beats Per Minute) (2017) - Young AIDS activists in France.

Brokeback Mountain (2005) - Cowboy gays. This film is pretty famous, do you need more summary? Might make a good triple bill with Idaho and God’s Own Country.

Cabaret (1972) - Liza Minelli. Obvious plug to also look into Vincent Minelli.

Calamity Jane (1953) - There’s a lot that could be said about queer coding in Hollywood golden era studio films, but this is apparently a fun wlw-cowboy westerns-vibes watch. Read the reviews on this one!

Call Me By Your Name (2017) - Please don't debate this film in the notes.

Caravaggio (1986) - Sean Bean and Tilda Swinton are in it. Rather explicit.

Carol (2015) - Cate Blanchett and Rooney Mara are lesbians in 1950s America.

Clouds of Sils Maria (2014) - Hard to summarise, but one review calls it “lesbian birdman” and it has both Juliette Binoche and Kristen Stewart in it, so consider watching it.

Colette (2018) - About the bi/queer female writer Colette during the belle epoque era. This had Keira Knightley so by all rights Tumblr should love it.

Fried Green Tomatoes (1991) - Lesbian love in 1920s/80s? America.

God’s Own Country (2017) - Gay and British.

Happy Together (1997) - By Wong Kar Wai. No further explanation needed.

Heartbeats (2010) - Bi comedy.

Heartstone (2016) - It’s a story about rural Icelandic teenagers.

Henry Gamble’s Birthday Party (2015) - Queer teens and religious themes.

Je, Tu, Il, Elle (1974) - Early Chantal Akerman. Warning for sexual scenes.

Kill Your Darlings (2013) - Ginsberg, Kerouac and the Beat poets.

Love, Simon (2018)

Lovesong (2016) - Lesbian and very soft. Korean-American characters.

Love Songs (2007) - French trio relationship. Louis Garrel continues to give off non-straight vibes.

Mädchen In Uniform (1931) - One of the earliest narrative films to explicitly portray homosexuality. A piece of LGBTQ cinematic history.

Maurice (1987) - Adaptation of the novel.

Midnight Cowboy (1969) - Heavy gay coding.

Milk (2008) - Biopic of Harvey Milk, openly gay politician. By the same director who made My Own Private Idaho.

Moonlight (2016) - It won the awards for a reason.

My Own Private Idaho (1991) - Another iconic LGBTQ film. River Phoenix.

Mysterious Skin (2004) - Go into this film aware, please. Young actors, themes of prostitution, child ab*se, r***, and a lot of trauma.

Orlando (1992) - An excellent adaptation of Virginia Woolf’s novel, and in my opinion far more accessible. Watch it for the queer sensibilities and fantastic period pieces.

Pariah (2011) - Excellent coming-of-age film about a black lesbian girl in Brooklyn.

Paris is Burning (1990) - LANDMARK DOCUMENTARY piece of LGBTQ history, documenting the African-American and Latine drag and ballroom roots of the NYC queer community.

Persona (1966) - It’s an Ingmar Bergman film so I would recommend knowing what you’re about to get into, but also I can’t describe it because it’s an Ingmar Bergman film.

Picnic At Hanging Rock (1975) - Cult classic queercoded boarding school girls.

Portrait of a Lady on Fire (2019) - By Celine Sciamma, who’s rapidly establishing herself in the mainstream as a LGBTQ film director. This is a wlw relationship and the queer themes are reflected in the cinematic techniques used. A crowd pleaser.

Pride (2014) - Pride parades with a British sensibility.

Rebel Without A Cause (1955) - Crowd-pleaser with bi coding and James Dean. The OG version of “you’re tearing me apart!”.

Rocketman (2019) - It’s Elton John.

Rent (2005) - Adaptation of the stage musical. Not the best film from a technical standpoint. I recommend the professionally recorded 2008 closing night performance instead.

Rope (1948) - Hitchcock film.

Sorry Angel (2018) - Loving portraits of gay French men.

Talk To Her (2002) - By Spanish auteur Pedro Almodóvar.

Tangerine (2015) - About trans sex workers. The actors apparently had a lot of input in the film, which was somehow shot on an iPhone by the same guy who went on to do The Florida Project.

The Duke of Burgundy (2014) - Lesbians in an S&M relationship that’s going stale, sexual content obviously.

The Gay Deceivers (1969) - The reviews are better than me explaining.

The Handmaiden (2016) - Park Chan-wook makes a film about Korean lesbians and is criminally snubbed at the Oscars. Warning for sexual themes and kink.

The Favourite (2018) - Period movie, and lesbian.

Thelma And Louise (1991) - An iconic part of LGBTQ cinematic history. That is all.

The Celluloid Closet (1995) - A look into LGBTQ cinematic history, and the historical contexts we operated in when we’ve snuck our narratives into film.

The Miseducation of Cameron Post (2018) - Adaptation of the YA novel.

The Neon Demon (2016) - Apparently based on Elizabeth Bathory, the blood-drinking countess. Very polarising film and rated R.

The Perks of Being A Wallflower (2012) - Book adaptation. It has Ezra Miller in it I guess.

The Rocky Horror Picture Show (1975) - No explanation needed, queer and transgressive vibes all the way.

They (2017) - Gender identity, teenagers.

Those People (2015) - They’re gay and they’re artists in New York.

Tomboy (2011) - One of the few films I’ve seen dealing with gender identity in children (10 y/o). Celine Sciamma developing her directorial voice.

Tropical Malady (2004) - By Thai auteur Apichatpong Weerasethakul. His is a very particular style so don’t sweat it if you don’t enjoy it.

Vita and Virginia (2018) - Virginia Woolf and Vita Sackville-West biopic

Water Lilies (2007) - Celine Sciamma again! Teenage lesbian coming-of-age.

When Marnie Was There (2014) - A Studio Ghibli film exploring youth, gender and sexuality.

Weekend (2011) - An indie film about young gay love.

Wilde (1997) - It’s a film about Oscar Wilde.

XXY (2007) - About an intersex teenager. Reviews on this are mixed.

Y Tu Mama Tambien (2001) - Wonder what Diego Luna was doing before Rogue One? This is one of the things. Warning for sexual content.

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greenland2020film-blog · 4 years

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2020 Greenland VIDEA HD — TELJES FILM (INDAVIDEO) MAGYARUL ONLINE

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Tartalom : Egy elhidegült házaspárnak össze kell fognia, hogy fiukat és magukat is biztonsága juttassák, miután véletlenszerűen kiválasztják őket, hogy egy földalatti bunkerba költözzenek egy az űrből érkező óriási objektum elől, ami 48 óra múlva mindent elpusztíthat a Földön.(Fordította: Tony)

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themagiciansreccenter · 5 years

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Author Spotlight: greywash

Every week we are going to be interviewing a writer from The Magicians fandom. If you would like to be interviewed or you want to nominate a writer, get in touch via our ask box.

First things first, tell us a little about yourself.

Hi, I'm greywash! I usually go by Gins, I'm 37, I'm an engineer, and I live with my beta/writing and queerplatonic life partner HBBO (havingbeenbreathedout) in the cheap(er) seats outside San Francisco.

How long have you been writing for?

I apparently "wrote" and "illustrated" a story for my mom about a dragon who forgets his best friend's birthday when I was three, so. It's been a minute. I kill fewer crayons these days.

What inspired you to start writing for The Magicians?

Well... basically, I followed @longnationalnightmare in from another fandom, and a few people on my Tumblr dash were reblogging gifsets, so I originally watched the show basically just for more context. (The threeway. By "more context," I mean "the threeway.") Anyway, it took me about 0.3 episodes to be completely hooked: I had read the books a few years back and was ambivalent about a lot of things in them, so when I started watching the show I was expecting a lot less than I got? I'd expected a sort of silly B-show with lousy acting, and, I mean... it is frequently *very* silly, but then it turned out that the cast ranges from 'very good' to 'incredible', and the interpersonal dynamics are *fantastic*, and those are both pure fannish bait for me. The show's not perfect, but they fixed a lot of my problems with the books, a lot of which lived on a character development level... I think the show really has done some incredible work with Quentin, especially; and also with depictions of complex, liminally-sexual queer friendships, like the relationship between Margo and Eliot, which I feel like I've never encountered represented this well in any other visual media source, ever.

Who is/are your favourite character(s) to write? What it is about them that makes them your favourite?

Ooh, that's hard. Eliot is just my hands-down full-stop favorite character, but there's always that tricky question of "who is your favorite character to write *in the point of view of*" versus "who is your favorite character to write *about*," especially when you have a relationship or relationships you're really invested in (for me, the asymmetrical Quentin/Eliot/Margo triad). When I want to write stories that are love letters to Eliot Waugh, which is often, then I want to write from Quentin or Margo's point of view, because when I write Eliot's point of view, I am inevitably writing love letters to one or the both of them.

Do you have a preference for a particular season/point in time to write about?

Well, since I came into the fandom during the post-S3 hiatus—I started watching the show in October—just by default that's where most of my work is grounded, so far.

Are you working on anything right now? Care to give us an idea about it?

Oh boy, I sure am! I have a lot of work to do on my 39 Graves fic, and then I still have, hm, probably another... twenty or thirty thousand words, ish? On "The Marriage Plot," which is the sequel (...sort of) to "Firebird" and also my sort of... emotional raison d'fanfic, for The Magicians. It's sort of a, uhh... well, let's call it an un-arranged-marriage fic, is the best way I can think of to put it.

How long is your “to do list”?

Oh gosh. It's atrocious, but it's also not all for /The Magicians/. There's "The Marriage Plot," but I also have a long-running /Sherlock/ WIP that got toootally hijacked by me suddenly desperately needing to write hundreds of thousands of words about Eliot and Quentin not getting married, and so I'm just getting back into that; and then I have 39 Graves. I also still owe my partner a /Sneaky Pete/ storylet and have two other outstanding prompts from the summer, one for /Lewis/ and the other for... I.... totally don't remember! /The Good Place/, I think? I saved it around here somewhere. On top of that, I'm doing fan_flashworks bingo over on Dreamwidth, and I don't want my entire bingo card to be "The Magicians," though so far that's been somewhat difficult to resist. And I love the weekly prompt idea that the Rec Center and the Neitherlands Library are running for S4! I had a blast writing for the "Identity" prompt and am looking forward to this week's as well. Well, at least I write fast.

What is your favourite fic that you’ve written for The Magicians? Why?

I think I have to say "Firebird," because I haven't finished "The Marriage Plot," and who knows how that'll go; but they're so inextricably linked in my mind it's hard for me to think of "Firebird" as like—its own separate thing? I guess I can say that "Firebird" was really uncomfortable in places to write, so I'm proud of myself for getting it done without flinching away from all the, like, body horror and murder and super dubious consent; and I think it does what I want it to do. We'll see how I feel when I finish "The Marriage Plot."

Many writers have a fic that they are passionate about that doesn’t get the reception from the fandom that they hoped for. Do you have a fic you would like more people to read and appreciate?

Well, I definitely haven't been here long enough or written enough stuff to have that feeling, but—let's say "The Get Down," which is just a little bonbon about Margo and Eliot being best friends and banging a psychic. I love themmmmm~ ~ ~

What is your writing process like? Do you have any traditions or superstitions that you like to stick to when you’re writing?

I'm not particularly superstitious about writing, but I am hugely invested in my writing routine—I'm a write-every-day person, and I do mean 'every day'; I'm on a 2,179 day streak on 750words.com—that's a little shy of six years. People are usually horrified when I admit this, but: I get up at 5:15 in the morning seven days a week so that I can put on headphones and write for at least an hour and often more like two before work, or whatever it is that I'm doing that day. (I also go to bed at like.... eight forty-five. I am a party animal.) I also very frequently write on my lunch breaks and have the excellent fortune to live with my writing partner, so we spend loads of time writing on the weekends and talking about fiction. This is literally the life of my dreams, but you have to be a very specific kind of obsessive weirdo to feel that way, I think.

Do you write while the seasons are airing or do you prefer to wait for hiatus? How does the ongoing development of the canon influence and inspire your writing process?

I am too much of an egg in this fandom to have an answer to this one yet, I think. :) I probably wouldn't start a longfic during the season, but shortfic, sure, why not?

What has been the most challenging fic for you to write?

"Firebird," because of all the aforementioned body horror and murder and super dubious consent. I am a delicate flower, who happens to be fascinated with narrative about people confronting their personal monstrousness. It's a tough row to hoe, man.

Are there any themes or tropes that you like particularly like to explore in your writing?

For /The Magicians/, the particular dead horse that I love to flog is Fillorian marriage, and the implications that forced fidelity have for consent; and also just for how intimacy *works*, within a marriage or a long-term relationship where that sense of choice, of choosing and being chosen, is so much of what lends richness to the relationship.

Are there any writers that inspire your work? Fanfiction or otherwise?

Nonfannishly: Georgette Heyer, Sarah Waters, Herman Melville, Miranda July. Fannishly.... whoo boy. In /The Magicians/, I'm still catching up on all the great stuff that people have written! @longnationalnightmare , @adjovi , @achray , @shmazarov, @numinousnumbat , and @ohmarqueliot are some of my favorites so far... in other fandoms: gosh, where to even start, I've been in fandom for 20+ years, we could be here a while. I guess since we're on the subject (sort of) of the monstrous, I reread @1001cranes ' "disguise fair nature with hard-favoured rage" the other day and was just as floored by it now as I was... gosh, was that really seven years ago? Well, it's evergreen, go read it again. @septembriseur for fiction about altered consciousness. @drawsaurus for the interplay between warmth and brittleness and humor and darkness. @helenish for her endings. @havingbeenbreathedout for the interplay between sex and story, and basically everything else as well.

What are you currently reading? Fanfiction or otherwise?

Right now, I have open on my laptop: (1) @astolat 's "And I Alone Have Escaped to Tell You [which I've read before], (2) @ohmarqueliot 's "Reaching in the Dark" [which I haven't started], and (3) what is, in context, the most ironic thing *ever*: a handbook on strategies for managing ADHD. What? Don't judge me.

What is the most valuable piece of writing advice you’ve ever been given?

Basically that learning to write is just figuring out how to ask yourself "What are you trying to do with this _______?" (comma, word, line, paragraph, chapter, story), and then figuring out how to answer. (Thanks, Dad!)

Are there any words or phrases you worry about over using in your work?

Oh, I mean—I'm pretty okay with even the totally predictable bits of my narrative voice, I don't stress about it too hard anymore, but yes, there are a bunch of words I *know* I overuse. Especially since I'm a little bit blind to repeated words if I'm reading and not listening to my work read aloud, which—I try to do at least one pass where I get my computer to read to me when I'm editing, but I need to have both time and focus to make that work, both of which, I find, are often in short supply. "Tells"—he tells her, she told him—is *the worst*; I'm always looking for it my brain just skips over completely, it's like it's not even a word for me anymore.

What was the first fanfic that you wrote? Do you still have access to it?

Oh dear. I'd been in fandom for several years before I started writing, but as I recall, the first thing I actually wrote was an exceptionally overwrought and tragic Snape POV Remus/Sirius story. I have no idea what happened to it and I'm almost certainly happiest that way.

Self-edit or Beta?

Both!

Comments or Kudos/Reblogs or Likes?

All are delicious.

Smut, Fluff or Angst?

Smut.

Quick & Dirty or Slow Burn?

Quick and dirty on the sex and slow burn on the feelings.

Favourite season?

Season Two

Favourite Episode?

Cheat Day

Favourite book?

The Magicians

Three favourite words?

lovely, devastating, yearning

Want to be interviewed for our author spotlight? Get in touch here.

#The Magicians #the magicians rec center #author spotlight #author spotlight: greywash

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avanneman · 6 years

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The Code of the Woosters

youtube

The 23 episodes of “Jeeves and Wooster”, a British TV series starring Stephen Fry as Jeeves and a young Hugh Laurie as Bertie Wooster that ran from 1990 to 1993, are now available via YouTube. If you don’t know who Jeeves and Bertie are, you probably won’t enjoy the series. If you do know, you’re almost sure to have quibbles.

Jeeves, indispensable personal manservant, and his employer, mentally negligible man about town Bertie Wooster, were the supreme creations of P. G. Wodehouse (pronounced “Woodhouse”), the most gifted (to my mind) author of light fiction who ever lived. George Orwell, who wrote an intelligent though ultimately too generous discussion of Wodehouse, explained to ignorant Americans that Bertie was a pre-World War I Edwardian “knut”, a languid, yet somehow charming fellow whose general incompetence somehow makes it appropriate that he should have more money than he can spend.

The fact that a lot of Bertie Woosters got slaughtered in the trenches of World War I somehow did not decrease the market for Wodehouse’s fiction. Wodehouse, who always looked rather determinedly on the bright side of life, at least in public, shrewdly guessed that a lot of people would prefer to pretend that the Great War never happened, and so made the world of the knut even more extravagantly self-indulgent and unreal than it had been in the balmy days when King Edward was still alive,1 creating a world of young men in spats, white flannels and cucumber sandwiches, smart flats and country homes, heiresses and French maids, all of them pure as the driven snow—for Wodehouse’s world is as innocent as the real one is wicked.

What makes Wodehouse worth reading is the wonderful dexterity of both his language and his plots—“musical comedy without the music,” he liked to call it, although few musicals could match the twists and turns of his absurdist plots where everything is first turned upside down—very often due to Bertie’s blundering—and then flipped rightside up again thanks to Jeeves’ brilliance.2 Wodehouse drew heavily on the tradition of Gilbert and Sullivan for both his plots and language, translating them onto the written page. He had a wonderful ability to mix the clichés of formal and colloquial English—ponderous “Establishment English” and English “public school”3 slang, in particular—turning them inside out or leaving them rightside in while placing them in incongruous surroundings, shifting constantly from outrageous overstatement to similarly outrageous understatement within a single sentence.4

When I first saw the Jeeves and Wooster episodes I was disappointed that every line of Wodehouse’s superb verbal stunting wasn’t faithfully replicated on the screen—absurd, no doubt, but, as Bertie would say, there it is. After almost thirty years to collect my thoughts, I find that, so far, my original judgment was a bit harsh. Stephen Fry makes an excellent Jeeves, though there’s often an ironic tone to his supposedly respectful responses to Bertie’s inanities—as though Fry feels the need to let us know that Jeeves knows how stupid Bertie is—which strikes me as lazy and self-indulgent. The real Jeeves, one feels, would be above the need to signal his superiority.

Laurie’s Bertie Wooster is more of a mixed bag. In the first scenes of the first episode, Laurie engages in some horrible mugging, intended to let us know that Bertie’s suffering from a hangover, but if the plot didn’t make that clear, we’d never have guessed. Eventually. Laurie improves, and physically he makes an excellent Wooster, his tall, spindly, eccentric frame making even the most elegant outfit look somewhat ridiculous, and thus serving to ridicule rather than distinguish its wearer.

The trappings of twenties and thirties elegance are very well done, but the Brits, of course, never tire of this. British studios must have roundhouses of puffing locomotives, garages bursting with antique sports cars, taxis, and limos, not to mention immaculately maintained country homes and smart flats. The theme music, a sort of palm court jazz, if that isn’t too rude a term, is quite catchy as well.

The attempts to “open up” Wodehouse’s world are another matter, and an area where devotees are likely to quibble. The series takes us inside Bertie’s “Drones Club,” but the members are depicted as emotionally stunted six-year-olds, while I always envisioned them as emotionally stunted thirteen-year-olds. I ended up bailing on the series back in the nineties for its lack of “respect” for Wodehouse, but if I persevere through the whole thing this time around I may be more forgiving.

Afterwords In the “real” twenties, knuts were better known as upper-class twits or “Bright Young Things.” The current British series The Windsors does a better job taking down the modern-day upper-class twit, because The Windsors deals with shagging and snorting as well as cigarettes and liquor, which are the only sins permitted in Jeeves and Wooster, though The Windsors still keeps it light. For a grimmer touch, you can find a TV adaptation of Evelyn Waugh’s Decline and Fall, in which all the Bright Young Things are damned to Hell—or at least would be if Evelyn had his way. Variations on these themes can also be found on the once legendary Upstairs Downstairs series, which you can get on Amazon, if not elsewhere, as well as the execrable Downton Abbey—execrable if not indeed damnable—which I ridiculed both here and here.

Back in his heyday, between the two big wars, Wodehouse was the beloved pet of virtually every English writer, from Orwell on the left to T. S. Eliot (officially an American, of course,5) on the right, first because he was so funny and second because he offered no competition to them, despite writing of a world that they all knew never existed.6 The Wodehouse cult endured a great crisis in the early days of World War II when Wodehouse and his wife, enjoying an extended vacation in France, managed to get themselves captured by the German army. They were interned as enemy civilians, and Wodehouse agreed to make a few radio broadcasts for the Germans, in which he explained that his hosts, once you got to know them, proved to be rather jolly chaps in the whole. This naturally enraged the British population, who regarded Wodehouse as nothing less than a traitor.

The intelligentsia can always love an outcast—some more than others, of course—and Wodehouse admirers like Orwell rallied round in an excessive manner, rushing to “explain” that Wodehouse was a political naïf who knew not what he did. I think one can wonder about that. Wodehouse was quite a wealthy man—rarely the mark of a naïf in the first place—and many wealthy people on the eve of World War II feared that a “long war” would inevitably lead to crushing taxation and endless governmental regulation of every aspect of society no matter who “won”. Better to have the whole thing settled and done with, so that, hopefully, we could somehow find our way back to “normality”. Far more illustrious men than Wodehouse—Picasso, Matisse, and Andrè Gide, for example—were willing to make their peace with the Nazis. One must learn to accept that which one cannot change, after all.

Edward VII, who reigned from 1901 until 1911, was the figurehead monarch of a society that was moving rapidly towards civil war (over the question of “Home Rule” for Ireland) when an even greater external crisis intervened. Great Britain, as it then was generally called, was spared a civil war at the expense of about 600,000 dead and an equal number of wounded. On the one hand, there was almost nothing that Edward could do to prevent the smashup. On the other, there was almost nothing he did do to prevent the smashup. ↩︎

Eighteenth century literature featured many plots where, as Orwell (again) put it, the elements fit together like the teeth of a zipper, but the real classic that prefigures Wodehouse is Beaumarchais’ Marriage of Figaro, far better known in the U.S. via Mozart’s opera. Wodehouse no doubt got the idea from Gilbert and Sullivan rather than the “original”. ↩︎

English “public schools” are what we would call private schools. Wodehouse was immensely happy at his school—confusingly known as “Dulwich College”. It isn’t hard to guess from his work that he found the idea of an all-male society revolving largely around sports and adolescent hijinks immensely appealing. ↩︎

Wodehouse came from a seriously “colonial” family, and according to Wikipedia was raised for the first two years of his life by a Chinese nurse. I’ve read (somewhere) that the historian Edward Gibbon was cared for in his first years by a French nurse, and William F. Buckley was initially raised by a Spanish one. Not being exposed to your “native language” from birth can perhaps lead certain spirits to experience language as “naturally” artificial. ↩︎

Wherever he went, Eliot liked thinking of himself as a “metic” (Greek for “resident alien”)—St. Augustine’s notion of the proper role of a Christian while here on earth. I once read an interesting biography of Eliot that collected the opening remarks of addresses he gave, largely in the U.S. and the U.K., in which he would politely but firmly explain to his audience that he was not one of them. ↩︎

Not every writer adored Wodehouse. It’s typical of writers, regardless of background, to think of themselves as aristocrats and identify with the aristocracy, but some British writers, raised in the “Dissenting” tradition, hate everything about the whole country house fantasy. The fact that Wodehouse created a sort of “Disney version” made it no more palatable. ↩︎

#pg wodehouse #Jeeves and Wooster #Jeeves #tv

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annychristine831 · 4 years

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Gerard Butler Will Portray Mike Banning Once Again

This will be the fourth time Gerard Butler will save the people of America as he is set to return as Mike Banning in the fourth “Fallen” film titled “Night Has Fallen.”

According to a report published by Deadline, Gerard Butler will return as Mike Banning in the fourth “Fallen” film. Even if you don’t like the “Has Fallen” title, you have to accept that the franchise is one of the rare film series in Hollywood that has been able to create four action feature films. It will be the only Die Hard imitating franchise that will become a quadrilogy once Millennium Media launches its fourth film at the virtual AFM by the end of this week.

As far as Die Hard is concerned, the Bruce Willis starrer franchise has released five films up until now, and that includes the much-hated 2013 film “A Good Day to Die Hard.” The uncertainty about the highly disputed Die Hard film has pervaded for years now. Some frantic fans have suggested that the title has been decided (“McClane”), and the production team might hit the floors soon. We cannot know for sure when the sixth film will be released, and if at all, it will be released despite the fact that a commercial for the DieHard batteries might have already given us hints for the things to come.

Now coming back to our topic, Ric Roman Waugh, who is renowned for directing the best film of the franchise-“Angel Has Fallen,” “Snitch,” and “Greenland” (which also starred Gerard Butler), is set to return to the franchise to helm the fourth film.

Gerard Butler is at that point in his career where he needs stability, so he should keep Ric Roman Waugh close to himself because the likes of Dwayne the Rock Johnson, Liam Neeson, and others are always looking for directors like him. I am saying this because there are plenty of examples that suggest that if the actors do not remain careful, directors tend to look the other way. One of the prime examples is Liam Neeson and Jaume Collet-Serra’s fallen partnership.

The franchise had started with a decent 2013 film “Olympus Has Fallen,” which had earned $268 million globally on a $70 million budget. Its sequel “White House Down” received mixed responses from critics. It was the recipient of underwhelming affluence at the box office, which amounted to $205 million globally but on a much higher, $150 million budget.

Last Year’s film “Angel Has Fallen” has been regarded as the film of the franchise by both the fans and the critics and was well received at the summer box office. It attained a staggering $215 million in response to a meager $40 million budget.

Morgan Freeman is likely to return, but other than that, we barely know anything about the “Night Has Fallen.” The script of the film will be penned by Robert Kamen in the company of Ric Roman Waugh, and the filming will be done at Nu Boyana Studios in Bulgaria.

The film’s cast, plot, and release date have not been revealed yet.

Source: Gerard Butler Will Portray Mike Banning Once Again

#gerard butler

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toldnews-blog · 5 years

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New Post has been published on https://toldnews.com/sports/everyone-loves-virat-kohli-because-he-always-speaks-honestly-shane-warne/

Everyone loves Virat Kohli because he always speaks honestly: Shane Warne

The Indian Premier League’s (IPL) 2008 champions Rajasthan Royals are ready with a makeover. The franchise is turning all ‘pink’ this season with a change in the colour of their apparels and will have it as the official colour in line with the city of Jaipur. As RR goes about reinventing itself in its 10th year of IPL (having missed out two years), Shane Warne – their first captain who led RR to victory in the inaugural year of the IPL – is once again the face driving that change. On Sunday, the legendary leg-spinner sat with TOI for an extensive interview.

Ten years with Rajasthan Royals. What does it take to have so much of Shane Warne’s attention?

I think the people. There’s a loyalty factor attached to club sport and I like that. I’ve always only played for one team. Australia, Victoria, St Kilda and Rajasthan Royals. In county cricket, it was Hampshire. I’ve had many roles here but what really drove me was the people of Jaipur. There wasn’t much expectation, they just wanted their team to do well. There was a feeling of appreciation and I felt they took me for who I was. They gave me the space. I want to pay back that loyalty.

When this space that you mention, is given to Shane Warne, does it bring out the best in him?

Yes, absolutely. Firstly, there’s a huge difference between being liked and being respected. I got both in plenty with RR. Today, franchises have a bowling coach, a batting coach, physios, mentors, team managers – there are so many people around the team now doling out advice. In my case, it was a one-stop shop. That helped. Being honest with the players helped. If a player wanted to know why he was in the team, or why he wasn’t, all he had to do is come to me and I always kept that door open. All of that resulted in a nice build-up and we could create an amazing team. It’s the most satisfying thing I’ve ever done in cricket – help create everybody’s favourite underdog in IPL.

Cricket Australia is seeking a culture change. Do you think it is working? I really don’t know if there was a problem with the culture. But what I do know is after Sandpapergate, how many people loved seeing the Australians in trouble and how many people sunk their boot in. How many people kicked them when they were down. There might have been an issue because every team did not like the Australians and that’s OK. You don’t have to be liked but you need to be respected. And there are a few things the Australian team did (to lose that respect). They need to earn back that respect.

Signing autographs will help do that?

The Australian way of playing cricket is tough, uncompromising but above all, fair. Maybe that’s where the Australians weren’t doing it right, pushing it too far and with the culture change policy, they’ve gone too far the other way. Now I think everything they’re doing is for public image. As soon as the last ball is bowled in a game, they’re all signing autographs near the fence. People should sign autographs if they want to. I was one of the guys who signed all the time, took pictures and I think all cricketers should. But, there’s a time when it should hurt. You may not want to speak to anyone if you’ve lost. You need your own time to get into the dressing room and get over it.

Is CA trying to fix something that’s not broken?

CA needs to work out what’s important to them. I can understand why they’re (CA) doing this (read: Trying to improve image in public). But it should happen because they (players) want to (do it), not because they have to. Steve Smith made a huge error in judgement, but Steve Smith is not a bad person. But it is the punishment that has amplified the problem. A 12-month ban? Really? Think about some of the other teams and individuals and what they’ve done. Let’s say a $10m fine could’ve been levied. He (Smith) made a mistake but I think he has been punished very harshly.

With today’s social media scene, authorities seem to be under some kind of pressure to be seen as doing the right thing… I think too many people worry about what people say. It’s about being true to yourself and standing for what you believe in – to do the right thing. For instance, the Australian cricket team – they want to play tough, aggressive, uncompromising cricket but it has to be fair. As simple as that. There are too many people in the world, not just cricketers, that get on their phone and create something that isn’t real. They try and portray a life that isn’t real.

Too much rule-setting can result in dumbing down of expression? It’s happening in cricket…

We live in a world that’s increasingly becoming politically correct. And what we want to see from sportspersons is them being real. We want to see their emotions, see them playing with freedom, expressing themselves. We don’t want to see them conforming. For instance, most player interviews these days go like this: Question: Well, that was a fantastic result today. How do you feel? Answer: Well, it was a great team effort. Everybody played well and did their part. I’m just trying my best and happy to contribute to the team – That’s what everyone says. Guys have to get more real.

Is that why Virat Kohli comes as a breath of fresh air? Speaks his mind … He’s fantastic. I love watching him bat and I love listening to him. I am a big fan. One of the things he doesn’t do is he doesn’t take things lying down. You know what he does? He stands up for what he believes in. He speaks how he feels and he’s real. He’s emotional, a bit too emotional sometimes on the field. But that’s the part of the charm.

Is that why Australia loves him?

I think world cricket loves him. Everyone loves Virat Kohli because it’s refreshing to hearing him talk so honestly and openly. He loves confrontation. That’s why he has those 100s in chases. How many, 23, 24? The next best is how much? I can’t remember who’s second. That’s something inbuilt into you. That’s not skill or talent. He’s got a lot of that. That is just pure competitiveness and pure desire – to get the job done.

You’ve seen Sachin so closely. Where do you place Kohli in comparison?

Very hard to judge when someone is playing and very hard to judge eras. Think about the bowlers in the ’90s. Different surfaces that seamed. Now they’re a lot flatter. The ball swung more. So many invariables. But to think that someone was better than Brian Lara and Sachin – in those mid-’90s – against Wasim, Waqar, Curtly, Courtney, McGrath, Donald, Saqlain, Mushy, Vettori, Murali, myself. You can go on. (Pauses) Virat is breaking all the records, which is great but I want to wait. See, what people miss is this: You can set benchmarks, score those many centuries, average that high, score a lot many runs. But what people are going to remember you for is the way you played the game. Someone should run down the street and ask fans, how many runs did Mark Waugh make or what his average was? They wouldn’t have a clue but chances are, here’s what they’ll say: I loved watching him play. To my mind, what’s already evident is that Virat is one of the best players of all time. In One-dayers, he probably has to go down with Viv Richards as the greatest ever, not so much for the record but for the way he plays his game. But I’ll judge him at the end of his career.

DRS – you’re clearly not a fan…

Hang on. I think any improvement to the game that can help us get to the right decision is fine. I don’t mind. I’m a fan of DRS only if it is used right. And at the moment, I don’t think it is used right. It’s simple: Take away the original umpire’s decision. You can’t have exactly the same ball being given out and not out depending on what the on-field decision was. Identical deliveries: one results in ‘out’ and the other results in ‘not out’. That can’t be the case. It’s either out or not out, but because of what the on-field decision is, there can’t be two alternatives to the same delivery. If I bowl a ball and it hits the guy in front of the stumps, and the umpire says not out. I review and it says: The ball would’ve gone to hit the stumps. But it says ‘umpire’s call’. The next ball, I bowl exactly the same one, and the umpire says ‘it’s out’ – that’s wrong. The same ball can’t be out and not out. The simpler way to do it is ‘take away the original decision of the umpire. If its hitting in line and hitting the stumps, it’s out – no matter what the umpire says.

Can it be applied against the force of nature?

I don’t know. I’m sure most deliveries are faster through the air. If it hits the pitch, it has to take off some pace. But if I think of Perth in the late ’80s & early ’90s, the ball seemed to always gather pace off the pitch. Maybe that was the swiftness from the bounce, I don’t know. But you’ve got to rely on science and they’ll have to tell whether that’s the case.

Those who operate the DRS during a match sit in the broadcast room, the TV umpire sits elsewhere, the match-referee sits elsewhere… The DRS should be on their own, sitting alone, and maybe the fourth umpire should sit with them, to see they’re hitting the right button (laughs). But because of the telecast, you get to see all of that on the live feed. So, it’s pretty hard for anyone here to make a mistake. But yes, those who operate the DRS should be sitting alone so that you’re not influenced by anyone.

What’s that one rule you want changed?

1) Take away the on-field umpire’s decision on DRS; 2) Introduce the rule that if you don’t bowl your overs in time, the captain misses two games. You’ve got 90 overs in a day, if you miss them, the captain misses the next two games.

What if the game finishes in under-three days, like in the case of West Indies versus England?

Yes, (above should apply) unless the game finishes in less than 225 overs. Five days make way for 450 overs. So, if the match has lasted less than 225 overs, it’s OK. But there has to be a clampdown on overrates. The flat rule should be that a team cannot bowl less than 90 overs in a day. If it’s a half-day’s play we’re talking about, do a pro-rata calculation.

Recently, Hardik Pandya and KL Rahul were in news for all the wrong reasons…

Yes. Good lord. As I said, it’s all about political correctness these days. If a player steps out of line, everybody has an opinion and I thought that this particular thing was ridiculous. Just let them be.

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lids-flutter-open · 7 years

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brideshead, after reading art of cruelty

Charles --if that really is his name, and if that really is what this is all about-- Is not handsome or rugged but he has a certain mass about the shoulders A certain curving volume just at the top of the belly The barest suggestion of pectorals on his scrawny chest. His hip-bones exist admirably underneath the ridiculous high Waistband of the period. He ought to stretch more, as you can see how he is tense around his neck The muscles stand out, kind of, but also the tendons. He wants God. He wants God, but it’s perverse how he wants him. He wants God in terms of wanting all the weights and trappings that have been affixed to God. He has a hint of the deep power of the natural, the ever-present, the cold stream or animal sweetness, but by the time he finds that Charles is in a well which he can’t climb out of. He stands ankle-deep. There is a floor That won’t give way. He goes and he paints in South America, but the warmth doesn’t touch him. All he wants is to be contained, to be embalmed, and so he contains and embalms what he sees in front of him. If there are ever hands which travel down Charles’s spine, they do not open him up but rather make him more tense and bent. Is there a terror in him? There is a terror in him. The walls of the church Charles admires are not things God made, but are stones piled up By hands rather recently In certain corners of England, with little runes on them which stop you from leaving or dreaming And which definitively stop you from getting really intimate with people you love. Not to say that getting intimate with people you love is possible Merely by taking apart all the different stones. Outside the well there are other things stopping you-- But if you can’t even get out of the well, well. Charles, in the well, finds his hands are always cold. He wants God sort of, but he also thinks he wants Everything to stay as it was and for revolutions to stop. He has the capacity to commit little acts of brutality In order to make revolutions stop, or slow. But if someone threatened the stability of the noble peasant’s perilous existence, what then? And does Charles like the underclass of non-rebellious laborers? Lunt? That part of Charles, that ability to serve with a gun in hand… Does that make him trade? Charles is not the kind to like Futurism. There are too many bodies? There are too many bodies belonging to men? He doesn’t actually like war, and he is in the end aware of his own deep distaste for violence But he likes-- I was going to say something trite here, but we press on. Sebastian pisses in Charles’s mouth. Wait, is that right? Is that how this would go? Sebastian pisses in Charles’s mouth. The most satisfying scenario I can think of. I am not sure That was ever who Sebastian was, But it’s nice to imagine Charles on his knees, in the large rich house, begging not for the strap Or the cane (Which are overindulged And don’t make a coherent picture anyway) But for Sebastian to urinate on him, down his face Maybe on the roof or in a bathtub or possibly as they are naked in the field. Charles’s face is taut with his cheekbones poking out, the outline of his skull and his wide dark eyes More enchanting than Sebastian’s features or face Even though as kids we were always more into Sebastian. Charles is the beauty submitting, unbeautiful. Charles is the pathetic boy To feed peaches and piss on. You know you could become him but also revel in watching his degradation and his love For the thing that isn’t a symbol of The thing he thinks it is a symbol of. His knees are bruised. Remember when you thought Brideshead was just about two boys imperiled by homophobia and then you were like a year older And were like Oh no but they’re rich white boys I am problematic Maurice is a better book Even though it is more naive and clumsy in its happy ending. Maurice is the movie you make your boyfriends watch in the part of your relationship where you feel deliriously happy and believe in true love and the promise of a utopia The part where you can put off the future or pretend that you can find revolution in just love Brideshead is what you are thinking about the rest of the time. It’s more of a faggoty piece of media for its sorrow and complication. Being a faggot is seeing the whole shape of the matrix of capitalism and the machine of death And not leaving Oh wow, that’s pretentious. Also can’t you be a faggot and a revolutionary? No, you can’t exactly. One destroys the other. I don’t know that faggots exist In Herland Or once Wittig is all done. Maybe this is a lexical error. Someone correct me, please. I don’t want to be a reactionary. There’s things this model doesn’t even deal with You get closer with Another Country and Rufus and all that? Do you have to go to France? You can’t leave even if you’re in France. So back to the scene with the piss. Cum isn’t really it. Cum’s involved, but cum doesnt convey the utter abandon with which this whole montage needs to be assembled. Somehow piss makes the longing Charles feels to be owned and completed by Sebastian more visceral. You crawl like a dog and are tense before your lover You love him and are cowed by him Rinsed by piss But more and more it is a choice to be cowed by him, there’s no real command or imperative And you crawl back into this largely imaginary container of obligation ever more desperately until you find it is no longer there and you are not needed And also are not even ruined, like you sort of hoped you would be And then you turn to God, because nobody is pissing on you any more and you think that through God you can get that really good sense back, of being owned and belonging. You spend the rest of your life hearing people whisper through windows at you. I guess that’s one way to get to God. Would it be as satisfying, this picture, if it were instead the main male characters from Women In Love? No. That’s because DH Lawrence thinks coal miners and plants are all sexy and objectified and phallic and doesn’t even really want God And probably likes Futurism And probably was actually into piss And like, I don’t know, they’re fascists. You just wish they’d both gotten bashed in the head with that geode or whatever by the woman in the first part of the book. With Brideshead it’s the more complicated Maggie Nelson thing about NUANCE. It is NUANCED because neither Charles or Sebastian is quite beyond the pale into the realm of evil even if they are annoying and flirt with evil and you would not like them in person. And the whole slave/master thing between those two awful men in Lawrence was already so baldly stated. All that wrestling, all those words about white octopi! Evelyn Waugh would be outwardly condescending about depravity and piss, Would deny the whole slave/master dynamic Would resist any sort of narrative about classes of men needing to reaffirm their position And if pissed on at any age I think Evelyn would be dismayed. That is why this is a fanfiction And why it is such a deeply satisfying one.

#brideshead revisited #piss/

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awed-frog · 7 years

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I read on a confession blog that there's been foreshadowing this season for both/or Cas and Crowley dying and I was surprised but I'm really bad at media reading so I wanted to ask you since you are very clever. Have you seen foreshadowing and could you point me to specific examples? Thank you!

Hi and thank you for saying that! I’m not sure I’m all that clever, but I’ll certainly do my best to answer your question.

So, someone asked me last week about Crowley dying - I guess Mark said something I missed - and you can find my answer here. All I can add is that, narratively speaking, Crowley is still an antagonist (sort of), and since this is not a Haneke movie, the arc for antagonists generally ends in three ways: a bad death, a good death or redemption. What I mean by that is that a villain can be brought down as his schemes are foiled by the hero (sort of what happened to Ruby, for instance, and also Zachariah and Raphael), or they can have a change of heart and sacrifice themselves for the hero (Meg, Gabriel), or they can somehow earn a complete redemption and a happy ending (as was the case, briefly, for characters such as Benny and Cain).

The way things are going, Crowley is being paralleled with Cas in that he too will soon(ish) have a choice to make: his destiny, or something else. I mean - just as Cas was programmed to be a loyal soldier of Heaven and help out with the Apocalpyse and still feels that pull to stand by his brothers, Crowley is brought low and pushed into ‘sin’ by his demonic nature. In the past, it was always obvious that whatever he did, his motivations were largely selfish. Sometimes I wonder if this changed after that ‘summer of love’ with demon!Dean - I think that was the moment Crowley truly realized that there was no way to trick his way into this one: if he wanted Dean’s affection and friendship, he had to earn it the old-fashioned way - the human way. He’d tried binding Dean to him before that - he’d blackmailed him and forced him to do his bidding in one way or another - and I’m sure Crowley always low-key thought, because how could he not, that what was preventing Dean from being fully his was that stupid heart of his - so big, and always, always bloody bleeding. So when Dean turned - that must have been a dream come true. Only, well, we know how it ended, and since then Crowley’s being trying both to be like Dean (exhibit a, a sudden interest in his long lost family: the old Crowley would have killed Rowena by now) and truly act for Dean, even against his own interests, because this is what you do for your friends: you love them and support them, no matter the cost. In this sense, Crowley saving Cas’ life was perhaps the most significant bout of character development we’ve seen on this show. This is why I’m not sure Crowley can truly take a step back now - we know he hates ruling Hell, after all, and I think we’ve never met a demon he actually likes, so his only logical way is forward - towards humanity (and ‘humanity’). As to whether this will mean his death - for the reasons listed above, I think we can rule out the ‘bad death’ by now, but I’m not sure they’re planning for Crowley to survive the show. He is clever, perhaps the cleverest of them all, but he also overestimates himself, and he’s way too emotional for his own good, so all these things are dangerous. Also - does he have someone who’d take a bullet for him if the time came? Unfortunately, I don’t think so. Maybe him saving Cas is foreshadowing Dean (finally) feeling some obligation towards Crowley and coming to his help later in the season (I don’t think he would have bothered otherwise, to be honest), but I’m not holding my breath. No, given the general landscape of this stupid show, I’m going to expect a ‘good death’ for Crowley - but I’d love, love love to be proven wrong.

(As to when that would happen: I’m hoping, as late as possible, and it would make sense, because Crowley is a great character to keep around - we don’t know much about him, so you can make him do and know unpredictable stuff and have him act like a daemon ex machina whenever needed. Plus, Mark’s great and gets along with everybody, so fingers crossed.)

As for Cas, things are a bit different.

Cas is no longer an antagonist, but he’s not a protagonist either. He’s a helper, but his personality and character’s journey are deeply interwoven with Dean’s, which complicates predicting what he’ll do next. Traditionally, the role of the helper is -

- to help the hero. They don’t have much of a scope beyond that, and, as for their fate, they can either bugger off into the sunset once the crown has been recovered and the prince has married the princess, or they can give their life for the cause (or, if not their life, suffer a heavy loss of some sort so the protagonist can go on with his quest: think Ron Weasley being beaten bloody by a six-foot chess queen, or Elliot Waugh renouncing his homosexuality so Quentin Coldwater can - hopefully - save the day). Most of the time helpers sacrifice themselves willingly, but this is more what you’d call ‘guidelines’ than an actual rule. To me, the most horrifying exception will always be Medea chopping her brother to pieces so she and Jason can escape with the Golden Fleece.

Now, as I said things go a lot deeper with Cas, because he’s not only Dean’s helper, but also Dean’s princess. His fate ultimately depends a) on which one of these two roles will prevail and b) on what kind of show Supernatural even is.

If it turns out this was a tragedy all along, then Cas is fucked. It doesn’t even matter if he’s a helper or a princess - he’ll die in either case, because this is the endgame: for Dean and Sam to lose everything, and/or to die themselves.

If Supernatural is a quest thing, then the situation is a bit more hopeful. If TPTB get their heads out of their arses, Dean and Cas can get married in a darling little chapel and eat wedding pie until they burst, and if TPTB decide to no homo the entire story and pretend nothing ever happened, Cas will probably get a satisfying ending of his own, because quests generally end well for (mostly) everyone involved.

Finally, if Supernatural is actually the longest and most painful coming-of-age drama your side of the Atlantic (the one on my own side being The Odyssey, in a sense), then - I don’t know. Personally, I think Cas is someone who’s made Dean more mature, and more in touch with his feelings, and yet he’s not a father figure, so he can stay (and again, snog Dean into the next century or become a gardener or something), but it can be argued that the ways Cas is helping Dean to grow are, after all, a surrogate for parenthood (for instance, we have Cas getting Dean to ‘pray’ and have faith and believe in himself, like his parents should have done if Dean had had a normal, healthy childhood), which means his role will ultimately disappear when Dean is ‘old enough’ to make it on his own. Think fairy godmother, for instance. This view is supported, among other things, by the fact that the role Sully played for Sam was heavily paralleled to the present day relationship between Dean and Cas.

(However, if this is what they wanted to do, they had the perfect occasion at the end of S8 with that ‘E.T. goes home’ comment. The fact they didn’t seize what was a golden opportunity to make Cas disappear from Dean’s life in that kind ‘you don’t need me anymore, you’re all grown up now’ way leads me to think this is not where they’re going at all.)

As to when this will happen - again, Cas is a flexible character, he’s got a sizable fanbase and Misha gets along with everybody. The only problem they have with him are these cyclical accusations of queerbaiting they bring down upon themselves - and the fact that, judging from his emotional post-election day speech, Misha will want to do something else at some point. As I said, though - his arc is so strongly tied to Dean’s that I see a high likelyhood of Cas sticking around till the very end. Whether we’ll be happy about this, well - we know how things go with this show.

#ask #spn meta #spn ending #cas meta #crowley meta #cas #castiel #crowley #spn speculation #spn season 12 #this was fun

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makingscipub · 4 years

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Images in the time of coronavirus

This post has been inspired by conversations with friends and colleagues on the SCIREPS list, particularly David and Dolores Steinman, Martin Kemp, Pascale Pollier and Roberta Buiani.

How words become images

When did I first hear the word ‘coronavirus’? That must have been during the outbreak of SARS in 2003, but I had surely forgotten. Then I heard it again in January 2020. Now it’s a word we use every day. Its short for novel coronavirus whose official name is SARS-CoV-2, a virus that transmits a novel disease, namely Covid-19.

I wondered who researched and named the coronavirus first? To find out I looked at the science publication database Scopus and found that the first article to use it was published in the 1950s. It seems that “Coronaviruses were first recognized in turkeys in the United States in 1951”. The first article on Scopus dealt with infectious bronchitis published in the American Journal of Veterinary Research. Then the term lay relatively dormant until it exploded into the academic publishing scene in 2004 after SARS and now it will go supernova.

I also looked at what the Oxford English Dictionary had to say. Its definition under ‘virology’ is: “Any member of the genus Coronavirus of enveloped, single-stranded RNA viruses which have prominent projections from the envelope and are pathogens of humans, other mammals, and birds, typically causing gastrointestinal, respiratory, or neurological disease”.

The OED’s first attestation is for a 1968 article in Nature: “In the opinion of the eight virologists, these viruses are members of a previously unrecognised group which they suggest should be called the coronaviruses, to recall the characteristic appearance [sc. recalling the solar corona] by which these viruses are identified in the electron microscope.” There are two attestations for the SARS outbreak one for 2003 talking about “a new strain of coronavirus” and one for 2005 from Current Topics in Microbiology and Immunology “In addition to the SARS coronavirus.., the complete genome sequences of six species in the coronavirus..family.. have now been reported.” There will be many more attestations in future editions of the OED.

Crowns, coronas and spikes

So, etymologically ‘coronavirus’ is based on the word ‘corona’, Latin for crown, but more immediately on the metaphorically named solar corona that is to say, as the OED entry for ‘corona’ points out: “A small circle or disc of light (usually prismatically coloured) appearing round the sun or moon.” This does not quite explain the characteristic spikes of the coronavirus, which make it really what it is.

As a New Scientist article indicates, the word ‘corona’ actually refers directly back to its original meaning, namely ‘crown’: “Coronavirus particles are surrounded by a fatty outer layer called an envelope and usually appear spherical, as seen under an electron microscope, with a crown or ‘corona’ of club-shaped spikes on their surface.” Or to be more precise “The name refers to the characteristic appearance of virions (the infective form of the virus) by electron microscopy, which have a fringe of large, bulbous surface projections creating an image reminiscent of a crown or of a solar corona. This morphology is created by the viral spike peplomers, which are proteins on the surface of the virus.” (Wikipedia)

If you want to see how our novel coronavirus looks under a scanning electron microscope you can admire these great images (strangely in the Daily Mail).

Not only did the word coronavirus become commonplace this year, so did images of the virus with its characteristic bulbous spikes. There has been an explosion not only of scientific images, but also of artistic renditions, such as David Goodsell’s wonderful paintings, as well as cartoons and satirical exploitations of the virus.

For this explosion to happen, two distinctive features, what one might call ‘affordances’, proved fruitful, namely the spherical shape of the virus, the ‘globe’, and the spikey proteins protruding from it, the ‘spikes’ – some called it the ‘spikey ball‘.

Let’s now have a look at some of the ways these shapes shaped not only the scientific imagination but also the political imagination. What we see is a sort of semantic infection from corona (crown, wreath) which is transferred metaphorically to corona of the sun which is metaphorically transferred to a virus which then through its shape and function inspires/infects many more metaphors and images.

Into this metaphorical and largely also satirical mix, we must throw a beer called ‘Corona’, which caused some confusion for a time. As Wikipedia points out “Corona Extra is a pale lager produced by Cervecería Modelo in Mexico and owned by AB InBev in Belgium. It is one of the top-selling beers worldwide. […] Since 1998, Corona Extra has been the top-selling imported drink in the United States.”

Scientific images and visualisations

There are of course numerous scientific illustrations that range from microscope images to schematic drawings. This one used in The Economist is a good example of the latter, where one can see the fat layer which we now all destroy through handwashing with soap and the spike protein which is central to the virus’s survival and reproduction, and of course its name. There are many more!

There are, of course, also 3D scientific models of viruses, such as this early one of an adenovirus from the Science Museum Group Collection, made by Mrs. C.V. Waugh, 1974-1976. “This cardboard and plastic model shows type 5, which causes respiratory infections.“ A photo of this model was used to illustrate a blog post by Roger Highfield on coronavirus testing. One could write a whole history of how such models emerged, who made them, in this case a woman, what material was used and so on!!!

I have no space here to go into more detail about visualisations, let alone infographics…. BUT if you want to create your own coronavirus visualisation, here is a tutorial by experts.

Sciart

At the other end of the spectrum (but overlapping with scientific images, of course), we have artistic renditions of the virus, like the already mentioned paintings by David Goodsell. But other types of art also got involve, such as glass blowing. Not surprisingly, the artist Luke Jerram produced a beautiful glass version of the virus (see featured image) and said: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.”

Janus & Sons Art lab produced a more satirical glass sculpture of the virus where the spikes are replaced by the necks of corona beer bottles, an image found by David Steinmann. (Reproduced here with permission)

Roberta Buiani alerted me to some amazing sculptures on an Australian beach. They are by Canadian artist WhiteFeather Hunter who is doing her PhD at the University of Western Australia and is stuck there for the time being. You can admire them here!

The biological anthropologist, science communicator, public engagement expert and artist Alice Roberts made a drawing entitled “Under siege” that depicts people wearing masks and carrying bows and arrows shooting (anti-virals) at a mass of viruses from a high rock. The arrowhead is apparently an antibody (immunoglobulin).

Pascale Pollier, whose “work attempts to capture the point where art and science meld“, made a drawing or doodle while stuck in London entitled “Coronavirus taking root and falling on deaf ears” (reproduced with permission), which packs a lot of meaning into one image.

And here we transcend scientific images and even artistic images of the virus and enter the political and satirical scene.

Political images

Let’s see how the sphere and the spikes, separately or together inspired metaphorical, political and satirical elaborations…

Going global

I shall start with an image that are based mainly on the sphere and highlighting the global nature of the pandemic. This for example is an article against using the virus as a metaphor illustrated with the visual metaphor of a table top globe, but a globe that is the virus.

The next image also uses the globe but it’s the earth suspended in space with the spikes depicting industrial production of food (I think). The focus of the article is on global responsibility.

Another image, this time the front page of The Guardian, was published when the UK went into ‘lockdown’. The big black and white image depicts the earth with the virus cut in half and the two halves enveloping the earth from the top and the bottom, gradually covering it and shutting it in like a two-ended butter dish.

Now, we get into more interesting mixtures of metaphor and image. In my blog post on metaphors, I had pointed to Cuomo’s use of the image of falling dominos to illustrate the spread of the virus. In an image for The New Yorker the global spread of the virus is represented by the spikes of the virus being drawn as dominos. We have a metaphor laid over an image. As Martin Kemp said when he saw the image: “I much like the idea the act of drawing can bring together different things – which other modes of thought have not done”.

In an article by Dan Sarewitz on science, politics and values the dome of the White House is rendered as half a virus globe….. and so on….

Going satirical

There are some images that go from the world to the White House to those inside the White House, namely Donald Trump, and here many of the images focus on the metaphor of the crown underlying the images of spheres and spikes.

There are innumerable images that play with the corona-crown and President Donald Trump’s hair and head, such as this street art – but somebody else will have to study that on its own, indeed all the cartoons around Trump and the virus. Here is one more example used in an article on conspiracy theories in Arab Media. There is even one image where the spikes of the virus are rendered as MAGA hats….

Cartoons

And so we come to political cartoons, of which, again, there are many. There is one list of cartoons collected by Politico and another by Delhir. And I bet there are many many more, too many to analyse here. I just want to flag up, yet again, an opportunity for analysis.

When you look at the shortish list on Politico, you can see that the virus morphs into all sorts of round and spiked objects or subjects, not just human heads but also, for example, a football headed from Italy towards Europe (the goal), and so on. In another cartoon not on this list, two viruses (coloured half green half blue) turn into the scales of justice. The article in The Atlantic where this image appears is about the political polarisation in America – so I am a bit surprised not to see the colours red and blue on the virus drawings.

I unearthed my second source of virus cartoons by trying to find the source of a cartoon that showed up on twitter, but without source information. It turned out to be cartoon by the Greek cartoonist Dimitrios Georgopalis. The cartoon shows an hour glass, symbol of death; but instead of sand we see a squashed virus occupying the top half, squeezing skulls through the neck of the hourglass which accumulate in the bottom half. Two doctors in protective gear try desperately to tie of this ‘neck’ of the hour glass, which of course is made of glass, so this action is counterintuitive.

I found this great cartoon in a list of cartoons collected by the Hungarian media organisation Delhir. I can’t even begin to describe all the cartoons you can find there! And they are probably only the tip of the cartoon iceberg globally!

There are, by the way, many more great cartoons by Dimitrios on his Twitter feed, such as one depicting the now iconic toilet role with earth’s innocently sleeping head propped against the role and an angry virus approaching on the loo paper that extends from the role, like on a runway.

Corona as a cultural phenomenon

So, after an outbreak of metaphors and an outbreak of music, we also have an outbreak of images. The novel coronavirus has become a truly social and cultural phenomenon. It has spread into our bodies, societies, into science and art, into popular culture, into languages and minds.

Features image: Luke Jerram glass sculpture, with permission: “COVID-19 – glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic. Made in glass, at 23cm in diameter, it is approximately 2 million times larger than the actual virus. Commissioned 8 weeks before the pandemic, by a university in America to reflect their current and future research, learning in health, and its focus on solving global challenges.”

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torentialtribute · 5 years

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Ben Stokes is a very modern genius… but we have to make sure he doesn’t burn out

Sportsmail's cricket experts are considering a sensational Headingley test, Ben's heroism Stokes and consider the destination of the ash now.

Have you seen a larger test?

Paul Newman (Cricket correspondent)

No, this is not a privilege to be there. How can a team for 67 be eliminated and still win? That has not been done for over a hundred years, for God's sake. I was not at Headingley 1981 or Edgbaston 2005, so there really is no competition.

This is why Test Cricket remains the best game and please, please, please always. Isn't that the kind of cricket that will inspire a new audience? I can't bear the prospect of retiring to watch only Twenty20 and heaven forbids The Hundred. I just can not.

Ben Stokes hits a six against Nathan Lyon while Australian captain Tim Paine watches on

Nasser Hussain (former captain of England)

I have seen some of the 1981 series as a young kid, but the only game they performed in the area was the Ashes Test 2005 in Edgbaston. That had incredible drama right at the end, but the difference between that match and Headingley was that Edgbaston had several key players influencing the game at different times, while Headingley was ultimately about one man.

And England won not only after he was eliminated for 67, but they needed 73 with only one wicket in their hand. In terms of wonder, Headingley wins for me.

David & # 39; Bumble & # 39; Lloyd (Broadcaster, former English batsman and coach)

I was out during the game and strangers came to me on the street and said: & # 39; Have you seen what just happened in Headingley? & # 39; It feels as if the game has evoked the spirit of the country, somewhat like Botham's heroism in 1981.

And I also think that more people became involved in this competition. The first four days were sold out, while in the 1981 Headingley test the total turnout in five days was 52,000. I can't think of a test that has caught the nation like this.

Defeat in Headingley allegedly raised questions about Joe Root & # 39; s Test captaincy

Lawrence Booth (Wisden Editor)

The only test I saw in real life that could compete with Headingley 2019 was Edgbaston 2005 – another opportunity when England avoided going 2-0 against Australia through the skin of their teeth (and with a little help from the referee).

But there were three tests to go that summer. The defeat at Headingley would have been curtains and the questions would have started about the captain of Joe Root. Part of the shine of the World Cup would also have been removed.

Three tests were won by teams that followed, and two are equal, but this competition must match each rank.

How about a larger test inning?

Booth : For sheer shock value, Kusal Perera & # 39; s undefeated 153 for Sri Lanka against South Africa in Durban in February (another win with one wicket) will only effort.

For out-and-out cojones, there is Kevin Pietersen & # 39; s Ashes clinching 158 at The Oval in 2005. But for his range of strokes – the driveway here, the straight-sixes everywhere – Ben Stokes must go straight into the upper handful.

After the first innings of England 67, people rightly complain that white-ball cricket had damaged the testing techniques. But without Cricket with white balls, Stokes could not have hit like Sunday. It was a very modern piece of genius.

Hussain : That was the best innings I saw by an Englishman, especially when you consider that you have already climbed one Everest on the World Cup this summer.

He must have been mentally empty, so playing like this was remarkable. As for the foreign innings, everyone spoke earlier this year about the battle of Kusal Perera against Durban, South Africa.

But I also think back to the 281 of VVS Laxman in Kolkata against the Australians of Steve Waugh in 2001, when India won after a sequel and he had to hit a turning point against Shane Warne.

Lloyd : There have been a few. Graham Gooch & # 39; s undefeated 154 in Headingley in 1991 was one, and there was Brian Lara & # 39; s 153 not against Australia in Bridgetown in 1999.

But I have chosen a few that can be compared with Stokes. Mike Atherton & # 39; s 185 not out in nearly 11 hours to save England in Johannesburg in 1999-2000.

Then there is the beautiful 103 from Sachin Tendulkar to help chase India to 387 to beat England in Chennai in 2008-09. It came after the terrorist attack in Mumbai and just felt like the right result in an emotional game.

Newman : No, again. In the dizziness of the moment, I said it was the best innings ever played in Test cricket, and countless views of the highlights don't diminish the hyperbole.

The largest innings I had ever seen before was Graham Gooch on the same Headingley ground in 1991 against the West Indies at their best, with Derek Pringle playing the supporting role. This must be better because the axis was on the line. It was perfect from Stokes in every way.

Where does Stokes go from here?

Stokes is now at the highest point cricketing and is the best all-rounder in the world

Lloyd : I hope he packs his bags and takes his family to a secret hideout for a few days. He just needs to get away and come back refreshed for Manchester.

His life took a wrong turn not so long ago, but this summer everything revolved around redemption: first winning the World Cup, now two hundred in the As.

He did the right thing by leaving and getting fit, and now he has to stay that way. We have always talked about Botham and Flintoff, but the chat is now on Ben Stokes.

Newman : To cricket greatness. To become the best all-rounder in the world and the best that England has ever had. To fulfill all that potential, he threatened to throw away that dark night in Bristol.

To inspire children to pick up the game, Ian Botham did me and so many others all those years ago. And to create that same feeling of awe, I still feel when I meet Sir Beefy in various media centers around the world, because & # 39; it's Ian Botham! & # 39; Stokes can do this now and more.

Booth : further and higher. He's only 28, but he's kept himself in better physical shape than the other two all-rounders in England, Botham and Flintoff, and he has a real love for the game and his teammates.

Stokes is the real leader in this test team, but vice captain is where he should stay: imagine how many overs he would throw if he was in charge.

Now that he has removed Bristol from his system, he can be as good as he wants to be – or possibly as good as the ridiculously busy schedule allows.

He is only 28 and has himself in better shape then kept his predecessor Andrew Flintoff

Hussain : I think Stokes will just keep doing what he did. He will just train hard, and he will not grow up. He remains an incredibly popular teamman.

The only question is how he is cared for, what will be a debate for the ECB and its management company. Yes, he deserves to earn a lot of money at the IPL, and he probably just has another & # 39; 0 & # 39; added to his contract, but they must keep a close eye on his workload.

He is an all-rounder in all three formats, and we must ensure that he does not burn out, like Botham and Flintoff for him.

What should England do now

Hussain : The big question is the fitness of Jimmy Anderson. If he has passed enough overs before the fourth test, and both he and the medical staff think he is fit to play in Manchester, then he fits in with Chris Woakes.

But we cannot pay a repeat of Edgbaston. Regarding beating, I have said all the time that I want to open Joe Denly to open, promote Stokes to No. 4 and allow Jason Roy to No. 5.

The big question for the fourth test at Old Trafford is the fitness of Jimmy Anderson

Lloyd : Will Anderson fit well? It is a risk, especially after Edgbaston. What he needs is good kilometers in his legs, not a two-day two-day practice match.

And if Jason Roy was good enough Two tests ago, he is now good enough. We can't just throw players overboard. The only possible change I would consider is to get Dawid Malan for Joe Denly, but I tend to stay on the same side.

Booth : Two players look a bit tired: Jos Buttler and Chris Woakes. They have both had emotionally declining summers and it is no shame to give them a few races for the winter.

I would give pope at No. 6 (not No. 4, where he did two tests against India last summer) and Sam Curran at No. 8.

about Jimmy Anderson, but they are going risk him after Edgbaston? Moreover, the tail would then consist of two No 10s and two No 11s. That can prove to be expensive.

Chris Woakes looked a bit tired and could make way for Anderson in Manchester

Newman : We cannot only think that everything is now rosy in the English garden. Yes, they can hit well, but they must now continue to win the Ashes and I would make some tweaks.

The experiment with Jason Roy at the top of the order was worth trying, but it didn't work and I would move it to the middle order. Chris Woakes and Jos Buttler still seem to be suffering from a World Cup hangover and I would take them out of line.

And sorry Jonny, but Ben Foakes to eat and take the gloves. He is a real test cricket and deserves another shot. The time of Ollie Pope and Sam Curran will come

What about the Aussies? How do they recover from Headingley?

Booth : Captain Tim Paine spoke a good game on Sunday evening and said that Australia could have won all of the first three tests. And he's right. So the fact that it is 1-1 can give them the sinking feeling they experienced in 1981 and 2005.

Nathan Lyon in particular will have to pick himself up, although not many English cricketers shed a tear for him. Steve Smith's return changes dynamics again, and he should replace Matthew Wade, who himself has only 100 help in the second innings in Edgbaston.

Steven Smith's return to Australian batting line-ups changes dynamics once again

Newman : It will be very difficult for Australia to come back, and England must ensure that this does not happen.

Who knows if Steve Smith will be quite the same when he returns, but there are two clear candidates that he can replace in Usman Khawaja or Matthew Wade. All the pressure is on the Aussies and a captain in Tim Paine whose leadership was as dodgy as his batting in Leeds.

Mitchell Starc plays at the fastest pitch in the series, which is not over yet. But I stick to what I said the moment the Lord's Test was taken. And what I wish I hadn't said when they were thrown out on Friday at 67 AM. England will win the Ashes.

Lloyd : Australia will falter. They've messed up a run-out and used up their reviews, although I still think the lbw scream at Stokes slid down the leg. Hawk-Eye does not seem to have noticed that it deviates after hitting its front path.

As for Nathan Lyon, people will remember the moment he dropped the ball on Vill from ABL after being deflated in a test in South Africa. For me, Smith comes in for Khawaja.

Matthew Wade was able to make way for Smith despite a self-help hundred at Edgbaston

Hussain : the problems in Australia will be psychological. They still have a fantastic bowling attack, and they know everything about the weak vulnerability of England. But they must leave Headingley behind.

Mitchell Starc should come in what is expected to be the fastest throw in the series, probably for James Pattinson, although they may decide that Pat Cummins needs rest. And Steve Smith plays instead of Travis Head or Matthew Wade.

Usman Khawaja has enough credit in the bank to survive. Tim Paine is a problem – both because of his lack of runs and his bad review – but they don't let the captain fall.

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#Ben Stokes is a very modern genius… but we have to make sure he doesn’t burn out"

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douchebagbrainwaves · 5 years

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THE PROGRAMMERS I ADMIRE MOST ARE NOT, ON THE SCALE OF THE SUCCESSES

But there are also a significant number of those who want to start your own startup. And then I thought: how much money you've taken. If you're surrounded by colleagues who claim to enjoy work that you find you can do to keep the pressure on an investor you're comfortable with losing, because some of them. This sucks. Probably the most important factor in the sale of products, because it would mean staring failure in the eye every day for years. How was the place different from what the rule of law. If you start from the mistaken assumption that Instagram was worthless, you have to deliver because otherwise competitors would take their customers. If you have to go to their web site and check whether the person you talked to is a partner.

My friends with PhDs in computer science. I was a kid. When I was a kid most apples were a variety called Red Delicious that had been pushing us together. More recently the recipe is more to be smart. Fear the Right Things. Promising new startups are often discovered by developers. Either VCs will evolve down into this gap or, more likely, new investors will appear to fill it in. Such is the nature of fashion to be invisible. The Valley basically runs on referrals.

The Idea In particular, it will probably frighten you more than investors. Don't start a company, you'll find it. Which means by helping startup founders I've been helping to increase economic inequality. Nothing is more powerful than another. The arrival of desktop computers inspired a lot of pro-union readers, the first web-server based application, this is just something to worry about the increasing gap between rich and poor generally look back on the default explanation of people living in fallen civilizations. He knew as well as money, there's power. Otherwise you can't attract good programmers to work in the pure, intellectual world of software, is a dangerous drug, but I'd forgotten. Rewriting a program often yields a cleaner design. It's the concluding remarks to the jury. Adults, though, is that they have better taste than people who don't understand it are driven to invent conspiracy theories to explain how. We're talking about a decision made by admissions officers—basically, HR people—based on a corpus of my mail.

To come from technology, not business. That must have made it that far and then get that done quickly, instead of what he did one long day and estimating that he had added several hundred thousand dollars. It was painting, incidentally, are busted. What do they all have in common is the extreme difficulty of making them live as if they were on railroad tracks. It was as if someone had brought up the topic of sex, and if you don't like to get across about startups, but it requires extraordinary effort. Plus they're investing other people's money, and they think anyone could have done it by fixing something that they thought ugly. Steven Hauser. Investors are pinched between two kinds of protections against fluff. The job of programmers was just to take the leap.

I remember were Einstein, Marie Curie, and George Washington Carver with Einstein misled us not only about science, but about symbolism in Dickens. Companies like Microsoft and Oracle don't win by winning lawsuits. Those are pretty expensive. But I don't know enough to say whether the problem is more than just financial. Apparently there's only one of them. So they don't make wealth a zero-sum games. Source: Nielsen Media Research. For one thing, real problems are rare and valuable. Perhaps only the more thoughtful users care enough to submit and upvote links, so the deal fell through. When I grew up with is a well established field, but there are cases where it surpasses Python conceptually. Reddit were good when it was cooked up, and the conclusion—total 1950 100 This picture is unrealistic in several respects.

Much more commonly you launch something, the drawing will look boring. Flexible employment laws? There's no need for a Microsoft of France or Google of Germany. Even the best programmers huge leverage. The specifics don't matter—just someone who has learned what to make of this. They produce new ideas; maybe the rest of the way? Real estate is still more expensive than just about anywhere else. They're not desperate for a job. They don't try to look into the future it would be more convenient for all involved if the Summer Founders didn't learn this on our dime—if they could, if necessary, make it fast.

They might not have raised money at 3 to 5 times the valuation we did. Henry Ford did it to the big company will be. If you want a computer to solve for you. So it's only when you run out of ideas. All the unfun kinds of wealth creation. Most of our educational traditions aim at wisdom. G b 5 max. Several well-known applications are now, like BaseCamp, written by just three people. Most people are doomed in childhood by accepting the axiom that work pain. Instead of developing a product for people not as smart as the ones you would least mind missing. If you're a hacker, you can't even trust the design world's internal standards.

That doesn't mean people are getting angrier. I wish they had just told us outright that we were savages and our world was stupid. The basic idea behind office hours is that the people who keep starting projects, and finish at least some little group that does? Thanks to Justin Kan, Jessica Livingston, Jackie McDonough, Peter Norvig, Aaron Swartz, and Jeff Weiner for reading drafts of this. The mobility of seed-stage startups means that seed funding is a national business. Evelyn Waugh and Nancy Mitford. Rapid growth is what starting a startup for real as a student.

Thanks to Tim O'Reilly, Sarah Harlin, and Gabor Cselle for sharing their expertise on this topic.

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