A screening, diminutive question and answer session and an even more abridged sneak preview of the season two premiere was the culminating event for the grassroots Emmy campaign, For Your Consideration, by Fox’s breakout hit Sleepy Hollow.

You’re probably tired of reading “breakout hit” by now. There’s a possibility I’m tired of writing it (I haven’t decided yet). The fact is, you keep reading it and writers keep writing it because the huge success of Sleepy Hollow was that much of a surprise – to everyoneSleepy Hollow proved itself over the course of 13 episodes in Fox’s 2013 fall lineup and they did so with relatively new faces.

After an early second season renewal, attracting a solid cult following, receiving rave reviews from critics and the ratings to back up both, Emmy nods would seem the next logical eventuality for the show. So, why the campaign? Fox’s VP of marketing and communications, Shannon Ryan, told The Hollywood Reporterthe network was concerned that the January ending of the first season put the show too far in the back of voters’ minds. Well Shannon, we’re glad you think so. Because this means we, the fans, get more of what we love.

You know, the little things, like Nicole Beharie and Tom Mison walking red carpets at cemeteries and seven-foot headless horseman cruising the adjacent gravesite to pose with fans. When things like this are the norm and totally appropriate for your show, it’s difficult to imagine anyone would forget about this brand new underdog of a television series.

Still, we’re happy Fox, who’s in as much need of some Emmy love as they are a well-loved show with staying power, decided to embark upon this humbly narcissistic journey and more importantly invite the fans along for the ride. Ryan is right. The cast and crew who bring mini-movies directly to our TV screens every week certainly deserve credit and recognition for it. Nicole Beharie and Tom Mison gracing the cover of the latest Emmy’s Magazine issue should help with that.

The screening and Q&A was held at the Masonic lodge inside Hollywood Forever Cemetery and the fans, the Sleepy Heads were well-represented Monday night. Before the headless horsemen joined Beharie and Mison on the red carpet they spent some well-received quality time with the early-arriving fans.

Fans were allowed to check in starting just before 6 p.m. and by 7:15 the entire line still hadn’t been seated. The fans already inside were kept entertained with a slideshow of still shots from season one as well as some behind the scenes clips with actors and crew members explaining various tidbits like special effects, stunts, plot development and more.

Once Buzzfeed senior editor, Jarrett Wieselman, got the event underway, fans and Academy of Television Arts & Sciences members were treated to a big screen viewing of the season one finale before the panelists were introduced. From right to left executive producers Alex Kurtzman and Roberto Orci took their seats in the very plush, vintage-style, high backed chairs that looked handpicked from an antique shop specifically for this event. Beharie and Mison were both welcomed with resounding applause before executive producers Len Wiseman and Heather Kadin took their places stage left (audience’s right) next to the two stars.

Watching the finale with a room full of others in close proximity was an interesting treat. You got to see general reactions, which parts people thought were funny and which parts made viewers cringe or curl into the person next to them.

Wieselman did a great job facilitating the panel and the fans did a great job once again asking a few interesting questions of their own.

What’s the thing that surprised you most about making season 1?

ORCI: How much people embraced the historical aspect of the show.
MISON: How sadistic writers can be; the amount of alliteration…they’re all determined to be the writer to break Tom Mison.
WISEMAN: The amount of non-genre fans.

It was good to find out I wasn’t the only non-genre person expecting to dislike Sleepy Hollow only to find myself ready to curse anybody who dare interrupt me on Monday nights at 9 p.m. Anyone who’s ever had a conversation with any member of the “Mills Militia” (our self-dubbed sub-collective of Abbie & Jenny Mills fans) knows we’re here for Nicole Beharie, Lyndie Greenwood, Abbie and Jenny. Many of us gave the show a chance simply because of Beharie’s involvement, expecting have to grin & bear through a few episodes or maybe even the first season, only to find ourselves hooked minutes into the pilot.

As if on cue a fan followed up by asking Beharie to elaborate about her experience playing Abbie Mills:

“It’s really been a gift. When you do a film, you have your arc and you have your two hours and you walk away. And with this you have 13 (arcs) or 18 of them so you get to continue to come back and renegotiate with your cast and with whatever is being scripted…and with what’s happening next. And I think that’s a massive gift! Going from the pilot where (Abbie) is completely a non-believer and a skeptic and thought this guy was a kook, to the finale…where she basically sacrificed herself. It’s enormous and it’s a lot of fun! Going into season two, there’s more!” | KEEP READING


The Cast of Sleepy Hollow Stop By Marvel LIVE! and Talk Cosplay at NYCC 2014 


Well this is the best thing you’ll watch this week. Nate Greenwood’s new part for Stereo Skateboards. 


Interview with producers and cast of Sleepy Hollow from PaleyFest 2014

Day 305: The Donkey of Gallipoli

So, this is the last of my recent book fair purchases and the last of my current stack of “how the hell do you make a children’s book out of that?” books. I picked it up because, well, how the hell do you make a children’s book out of that? (Adorable animal friend, if you’re wondering - that’s the answer. An adorable animal friend - in this case, Duffy the Donkey. Look at you go with your little headband, Duffy. Well done, sir.)

But, wait a second… Jack is a stretcher-bearer. That means he saw a lot of action and blood and shooting and horrible things. How… with the children and the terrifying them…

Well, okay. I guess that’s one way to convey the scope of a battle without, you know, actually traumatizing children or whatever. That’s cool.

But… certainly people got hurt and even died here, right? I mean, this is war. People - even donkeys - die in war. Again with the “how?”…

Aw, hell. Hell.

So, despite being based on one of the least cheerful stories ever, this is still a really interesting presentation for an audience that might not automatically line up with the topic. It’s a fairly basic narrative - even the big reunion aspect that’s touted in the cover material and was teased in the first pages really happens in like two lines with no real recognition (spoilers!) - but there’s still a lot here.

And we all know I’m a sucker for end notes like this. Hello, further information about this story - hello there. You’re amazing. Well done.

Awww, Fisher Price My First Battle Map. Yay.

So, this story is brief but kind of lovely. I’m still at a total loss about how this would work for actual children, largely because I don’t understand children and no one will trust me to borrow theirs (like, seriously. I offered to put together a multimedia presentation on shell shock for scullywolf's tiny people and suddenly I'm banned from the house. Whatever. I wasn't going to make actual mustard gas, Sude, you terrific spoilsport you.) Would this really be a bedtime story option - like, “Okay, kids - let’s settle down and have one story before bed. Let’s see… you can have Goodnight Moon, Paddington Bear orrrrr, oh! I know! A story about war and death and the protagonist getting shot in the heart. Sweet dreams!”

I mean, I’m not particularly concerned with the answer to that question - I like it and think it’s pretty cool. I am tempted, though, to put together a stack of the weirdest children’s books possible for whatever friend/relative has a baby next. I think little B.F.J. would like a stack of books like this, right, Sude?

Fri, Jul 24 
HUGH O’DONNELLBEING GAY IN THE G.A.A [Gaelic Athletic Association]

Hugh O’Donnell: Being Gay in the G.A.A part 5

Bbeyond: Blackbox, Belfast
20 - 25 October 2008

Reviewed by: Mark Greenwood »

'Gender reality is performative, which means quite simply, that it is real only to the extent it is performed'.   

Judith Butler: Performative Acts and Gender Construction.

'A homosexual cannot do the job of a footballer. The football world is not designed for them, it's a special atmosphere, one in which you stand naked under the showers'.   

Lucciano Mogi Former Managing Director of Juventus Football Club  

Ribbed Metal tins and a plastic carton of semi-skimmed milk have been symmetrically organised on a table. O’Donnell emerges from the audience carrying a gold handbag. A black and gold pair of football boots are removed from the handbag – the laces tugged apart, feet eased in and laces tightened. Handbag over the shoulder, O’Donnell circles the space distributing torn pages from a bible to each attendant witness with sad apologies; “Tá bró norm”.  A table where milk is poured and spilt. A salt circle scribes a white threshold between him and spectators. 

If the body is a historical situation then O’Donnell reproduces this situation, challenges it and subverts it. A coercion into a male/macho sport because of his gender and genealogy, he is expected to follow in the studded footsteps of his male predecessors; successful figures in Gaelic football. An assumption that a script will be strictly observed in accord with certain sanctions and proscriptions made on behalf of family and friends. Through these sustained social pressures and notions of abiding masculinity, O’Donnell finds himself on the football field on a cold winter morning, bewildered and fearful of the post-match showers where arousal may incur disastrous repercussions.

O’Donnell’s performance work invalidates and overturns fictions of gender reality. The effect of gender is produced through a stylization of the body and hence, must be understood as the mundane way in which bodily gestures and actions constitute the illusion of a ‘true’ gendered self. His transgressive performance work resists a universally enacted heterosexuality and ruptures an enforced patriarchal order where  non-heterosexuality actions a radical politics - the personal becomes the political and the political is performed. 

The handbag is placed over the head. O’Donnell spins in a circle. Milk splashes the floor. The ‘Match of the Day’ theme tune is hummed as circles are cut by scissors to expose a blue breast. Milk saturates the teat, flooding the nipple gorged and swollen. His gesture inverts the notion of maternal care as a primary model of seduction. His milk spattered breast is not an erotogenic zone of exchange which provokes and demands excitation, but a zone where assimilation into the oedipal triangle is rejected. O’Donnell expels himself from phalocentric prescription. He spits himself out of it and in the same motion establishes his own identity. Repeating with the other breast; cutting, flooding, squeezing and pulling. Attendant witnesses are confronted and breasts are pushed in their faces before O’Donnell disappears.

The white markings that once restricted and distressed have been traversed and a post match shower is well deserved. We hope its okay to be gay in the G.A.A. (Gaelic Athletic Association). 

Writer detail:

Performance Writer/ Artist currently researching a doctorate in Fine Art at Kingston University, London. Currently curating the RED APE project in Liverpool U.K where based.

Venue detail:
Bbeyond: Blackbox »
c/o Flaxart Studios, 44-46 Corporation St, Belfast 


Two great events!

McNally Jackson is thrilled to welcome two amazing author / illustrator teams in September and October, for two amazing books!

Saturday, September 29, 2012, 11:30 a.m. 
Two fantastic TOONS authors, Geoffrey Hayes and Frank Viva.  A Trip to The Bottom of the World With Mouse, Frank’s new book, will be released this fall from Toon Books.

Saturday, October 13, 2012, 11:30 a.m. 
Australian author/illustrator team Mark Greenwood and Frané Lessac will visit McNally Jackson and introduce their new children’s book:  The Greatest Liar on Earthfrom Candlewick.

All of our events are free and open to the public. Appropriate for children 3 - 8. 

2015 Squads
Western Bulldogs

IN: Tom Boyd, Shane Biggs, Toby McLean, Lukas Webb, Declan Hamilton, Bailey Dale, Caleb Daniel, Zaine Cordy, Roarke Smith, Jordan Kelly, Daniel Pearce
OUT: Daniel Giansiracusa, Tom Williams (ret), Shaun Higgins (FA), Adam Cooney, Ryan Griffen, Liam Jones (trd), Mark Austin, Alex Greenwood, Christian Howard, Jason Tutt, Tom Young (del)

1. Jarrad Grant 2. Robert Murphy 3. Mitch Wallis 4. Marcus Bontempelli 5. Matthew Boyd 6. Luke Dahlhaus 7. Lachie Hunter 8. Stewart Crameri 9. Jake Stringer 10. Easton Wood 11. Jack Macrae 12. Zaine Cordy 13. Nathan Hrovat 14. Clay Smith 15. Tom Campbell 16. Toby McLean 17. Tom Boyd 18. Fletcher Roberts 19. Lukas Webb 20. Daniel Pearce* 21. Tom Liberatore 22. Mitch Honeychurch 23. Jordan Roughead 24. Shane Biggs 25. Koby Stevens 26. Declan Hamilton 27. Will Minson 28. Josh Prudden 29. Tory Dickson 30. Joel Hamling 31. Bailey Dale 32. Michael Talia 33. Sam Darley 34. Jordan Kelly* 35. Caleb Daniel 36. Matthew Fuller 37. Roarke Smith* 38. Dale Morris 39. Jason Johannisen 42. Liam Picken 43. Jack Redpath 44. Brett Goodes* 46. Lin Jong 49. Ayce Cordy

CAPTAIN: Robert Murphy 
COACH: Luke Beveridge 


I am a hero

A hero with

His jaw removed

By wild dogs

In shakes of head

To glasses in bed

11/1 and still

Throwing it all out

A right to be alone

In violent dreams

That stir bodies lit with anger

What matters

In an ugly world

Where loose ties
Strike at lies
That spread like disease

In eleven minds?
Tenacious antagonist

Demonized decider

White shirt creased like a crazy parachute

As his spit hits wood

And rain spatters glass

Getting to the point

Casualty of causality

Cutting the chain in

Negative utterance

Tonic un-fresh

In stale smoke

And office stench

Never possible because

You can walk how you like

You can measure

And refold the facts over and over

Sweat glistens on furrowed brows

Shiny volcanic dust

All over the fucking table

And split by a

Thebes double dagger

Affecting eyes, truth

And evident pride

Yet no tranquility

As strong threads arm the bone

Astray ash tray pining

Problems solved by shouting

Keen emblems

Attributed to killer

Touched and moving between sharp point switch


Seeking ratios to

A complex entity

Under dry lights

Searching for compassion

Leaning on a precipice and swaying in the breeze

While fans burn and whirl

Check square shirts swirl

Arm around raven son

Black brick wall

Old with mould

And rotten kids

Tearing up the photograph

Fist tight and full of sand

Sore wet eyes

Dampen tight cuffs

A dogged leather pouch reveals

Memory receding

And dipping to evade

A lousy bunch of bleeding hearts

Employ a preacher tactic

As fingers drop quarters in a box

To appease gulping

Desires of a golden boy

Aspect framed in affection image

Expel the evidence

To heal the split

Despised ground that fixes

An infantile dependant

To objects of fantasy

Emotionally distraught

Stubborn bastard

A Father with a fierce temper

And alleged streaks of sadism

Peppering phony deals

While lip curls to left

Hook-line rubbing neck

With tongue between the teeth



Twisting and turning

Head bowed

Re-sealing the wallet


As tics grow louder

And air gets hotter

Spontaneous rash of heat

Due to explode

Outward and onward

Yellow sparks


In sharpening of knives

Eyes like Ed exposed and broken

Black and empty

Unblinking bad love

Temple veins bulge

Tourniquet tight

Pulsing slightly

In long seconds

That turn to dust

And quiver

On the end of cigarette

And vanish in smoke

Surface circuits

Of self-destruction

A strange kind of therapy

An oedipal way to see

Actions and words

Knowing shaved skin

Stained in

Bull head ritual

Sweet seizure

remaining unnamed as a

Hopeless master of nothing

In vertigo of sadness


Mark Greenwood ‘Twelve Angry Men’ (2011)

Mark Greenwood was guest editor for Mercy’s e-zine in Spring 2011. Click here to view: