joan washington

Representation matters: my six favourite black female fictional lawyers.

  • Clair Huxtable (The Cosby Show)
  • Maxine Shaw (Living Single)
  • Joan Clayton (Girlfriends)
  • Jessica Pearson (Suits)
  • Olivia Pope (Scandal)
  • Annalise Keating (How to Get Away With Murder)
10

2015 Met Gala | China: Through the Looking Glass | Part 2

{Fashion in the captions ↑}

Neurodiversity panel news

I just got the okay and consent from the other panelists:

There will be a written transcript for the Neurodiversity in Sherlock (aka the Neurodiversity in Holmes and Watson) panel available after @sherlock-seattle!

On my end - 

A topic that I will be discussing (which shouldn’t come as a surprise) is the difference between how a character is written as autistic coded (Sherlock Holmes), how a canonically autistic character is written (Fiona Helbron), how their interactions in Season 4 of Elementary reflects that, and what does that mean in regards of autistic representation.

Another topic I wish to discuss is Joan Watson & PTSD.

And that’s where I will need assistance.

I’m actively seeking out any articles, meta, commentary, etc. on Joan Watson and the lack of in-canon PTSD references in Elementary from those who are:

  • Not white (I cannot stress that point enough; to give context: I am white)
  • Willing to let me discuss their work with citation and full credit to them
  • Willing to have their work referenced in the aforementioned panel written transcript

It’s only an hour long panel, so regardless my topics of choice will need to be condensed. 

Anyone interested in offering assistance can send a message via the ASIE ask, or via email at autisticsherlockinelementary [at] gmail [dot] com.

Lucy Gets Trapped

S6;E2 ~ September 18, 1967

Synopsis

Lucy pretends to be sick to go to a big one-day sale, but when she wins customer of the year, her picture will appear in the newspaper and her lie will be exposed.  

Regular Cast

Lucille Ball (Lucy Carmichael),Gale Gordon (Theodore J. Mooney), Mary Jane Croft (Mary Jane Lewis), Roy Roberts (Mr. Cheever)

Guest Cast

William Lanteau (Floorwalker) first appeared with Lucille Ball in The Facts of Life (1960).  In addition to this episode of “The Lucy Show,” Lanteau did four episodes of “Here’s Lucy.”  He is best remembered for playing Charlie the Mailman in the play and the film On Golden Pond (1981).  

Bartlett Robinson (Mr. Wilkins) returned to star in a 1968 episode of “Here’s Lucy.”

Joan Swift (Laurie) makes the fourth of her six appearances on the series. Swift also did two episodes of “Here’s Lucy.” Her final screen credit was 1975’s “Lucy Gets Lucky” with Lucille Ball and Dean Martin.

The last time Swift was on the series she also played a bank secretary wearing pink, but her name was Dottie. 

George DeNormand (Clerk, uncredited) appeared in three films with Lucille Ball from 1937 to 1963. This is the just one of his many appearances on “The Lucy Show” and “Here’s Lucy.”

William Meader (Clerk, uncredited) had appeared as an airport extra in The Ricardos Go to Japan,” a 1959 episode of “The Lucy-Desi Comedy Hour.” He made many appearances on “The Lucy Show,” most times as a clerk in Mr. Mooney’s bank.

Leoda Richards (Customer, uncredited) made at least three background appearances on “I Love Lucy.” This is the third of her four episodes of “The Lucy Show.” She was also in the Lucille Ball film Yours, Mine and Ours (1968) and did two episodes of “Here’s Lucy.” Her main claim to fame is her appearance at the party given by Captain Von Trapp in The Sound of Music, standing next to Christopher Plummer during the song “So Long, Farewell.” Fellow extra William Meader is also at the party!  

The other customers and store clerks are played by uncredited background performers.

This episode was filmed on May 4, 1967.  This is the first episode of Season 6 to be directed by Jack Donohue, who directed all of Seasons 1, 2 and 3.  During the hiatus Lucille Ball dismissed director Maury Thompson when she heard he was seeking a pay increase.  In the title, the word “trapped” is not to be taken literally; Lucy is never confined to a space as she was when “Lucy Gets Locked in the Vault” (S2;E4) with Mr. Mooney.  Here the word means to be “trapped in a lie.”  This is one of the few episodes concentrating on the principal cast, with no celebrity guest appearances.

This episode, like 31 others (seven from Season 6), somehow fell into public domain, free from copyright protection.  In addition to low quality videos, this led to it being staged by a community theatre as a play, evidence of which can be found on YouTube!  

This is the second episode to take place at Stacey’s Department Store. Mr. Wilkins says there are 59 departments in the store. Lucy worked in several of them in “Lucy Bags a Bargain” (S4;E17) when she takes a part-time job in order to pay for a new dinette set.

Lucy gives her address as Glenhall Apartments, 780 North Gower Street, Hollywood, which was the real address of the Desilu Productions building. This is the second time Lucy has said her address aloud. The first was in “Lucy the Babysitter” (S5;E16).  

The refrigerator Lucy likes at Stacey’s (the only one on the sales floor, actually) is labeled a Duchess and it sells for $299.99.  This is a fictional brand made up by the production.  Lucy’s kitchen is green and this appliance is peach, so it doesn’t seem a good fit with her current design scheme.  

The range and oven Lucy peruses is made by Jiffy, another fictional manufacturer.  

At Stacey’s, Lucy discovers she has been named ‘customer of the year’ by being the ten millionth customer to enter the Women’s Sporting Apparel Department. Lucy wins a set of golf clubs, a set of luggage, a washing machine, a dryer, a dishwasher, a color television set, and a refrigerator (the same one from the appliance department) stocked with food.  

When trying to hide the newspaper with her picture in it from Mr. Mooney, she summarizes that “The temperature’s up, the stock market’s down, and Little Orphan Annie is lost again!”   Little Orphan Anniewas a comic strip character drawn by Harold Gray (1924-2010) who later got her own radio, film, and TV programs. It was recently mentioned in “Lucy and Art Linkletter” (S4;E16) as well as several episodes of “I Love Lucy,” including at the end of Lucy Wants New Furniture” (ILL S2;E28).Orphan Annie was famous for her mass of curly red hair and her pupil-less eyes.

Mr. Cheever awards Mooney an extra week’s salary as a bonus for the free publicity. Then, he orders Mooney to pay Lucy an extra week’s salary out of it. In a mean-spirited twist ending, Mr. Mooney only rewards her with half a week’s salary.  

Callbacks!

Besides Stacey’s, Lucy Carmichael also got into trouble at Bigelow’s Department Store back in Danfield.  

In “Lucy Meets Orson Welles” (ILL S6;E3) Lucy Ricardo shops at Macy’s. 

Lucy Carmichael also pretended to be sick to get out of work in “Lucy and Carol in Palm Springs” (S5;E8).  In that episode Lucy told Mr. Mooney she had the mumps!  

Lucy Ricardo pretended to be sick in “Lucy Fakes Illness” (ILL S1;E18) because Ricky wouldn’t let her into the act!

Lucy Carmichael is dangerous around refrigerators.  In “Lucy the Disc Jockey” (S4;E26) she pulled the guts out of her fridge. In order to con Mr. Mooney into buying her a new one, Lucy wrecks her fridge in “Lucy the Stunt Man” (S4;E5).  

Blooper Alerts!

The episode opens with Lucy at her desk reading Theatre Magazine.  This seems an unusual choice for Lucy Carmichael, whose only theatre experience was the Danfield Community Players. It would seem more appropriate to have her reading a movie magazine.  

The ad on the back of the newspaper is heavily (and obviously) redacted in order to conceal brand names.  

In this episode a portrait of George Washington has replaced the skyline painting behind Mr. Mooney’s desk. It is the famous portrait painted by Gilbert Stuart in 1796.  The portrait is there for the sake of a brief bit of business and a few lines spoken by Lucy, but the skyline painting returns in the next episode.

The ‘unbreakable’ tableware is Melmac, something Lucy Carmichael uses at home.  Why would she need to test the claim in the store?  

“Lucy Gets Trapped” rates 4 Paper Hearts out of 5      

4

How many women of color lead a current series?

On the bigger American networks (CBS, NBC, ABC, and FOX), I only count four (let me know if I missed one). And I mean lead, as in she would be nominated for a leading actress trophy. I know other networks have WOC as series leads, but these big four are the American media ambassadors to other nations and cultures, and this is how the world sees us (aside from everything else we put out).

I think people are really picky about English accents. When a Brit comes over here and kind of does an OK American accent, everyone’s like ‘You were great! Fantastic!’ But in England, even if you were doing a pretty good accent, they’re like 'But where are you from?’ 'London.’ 'What part of London?’ Accents are really precious over there. Joan Washington did both me and Frances’ dialect work. When I first read it, I saw the script as full of these posh English people. I just wanted to do something a little different with Michael. I did him with a northern accent– Albert Finney was what I had in mind. So he was more blue collar, heart on his sleeve, passionate. I don’t know it if makes much of a difference.
— 

Lee Pace on his accent in Miss Pettigrew Lives for a Day (x)

2

Drawing of a Woman on Horseback (Watercolor and ink on laid paper), attributed to the “Sussel-Washington Artist” (1760–1785), probably Berks or Lancaster County, Pennsylvania, ca. 1775.

Drawing for Catarina Meyer (Watercolor on paper), Lincoln County, Ontario, Canada, 1829.


,

eris-complex-deactivated2016062  asked:

Hello. I'm looking forward start reading regularly again and I'm trying to create a reading list. Is there any book/article/magazine you would like to recommend? It could be about any topic (science, history, art... about anything really) as long as a extensive knowledge on the topic is not required for understanding the content (such as a specific vocabulary). PS: Did I made myself clear? English is not my first language. Sorry if there is any mistake/confusion.

For my book recs try here. To that list I want to add:

1. The Closed Doors, Pauline Albanese: a Hades/Persephone retelling in play form. Immersive, deeply compelling - the combination of bold dialogue and contrastively delicate, secretive stage cues reached inside of me and tampered with strings I was heretofore unaware of. All I can say is that I read it as if it were blood and I, a starving shark.

2. 50 Strategies That Changed History, Daniel Smith:
• The front cover is (a beautifully edited version of) Napoleon Crossing The Alps by Jacques-Louis David.
• Quotes Sun Tzu first thing.
• Is organised by date and colour coded by type of strategy (‘military’, ‘politics and society’ or ‘commerce’) for ease of reference. At the start of each article, it has an information panel with a summary of the key details and a strategy analysis panel which sums up the ‘take-away message.’ It also features a timeline with the key turning-points indicated in each specific entry.
• Discusses the likes of Odysseus, Themistocles, Alexander the Great, Hannibal Barca, Julius Caesar, Cosimo de’ Medici, Joan of Arc, George Washington, Maximilien de Robespierre, Napoleon Bonaparte, Karl Marx, Emmeline Pankhurst, Coco Chanel, Vladimir Lenin, and Martin Luther King (to name a few).
• Has art works by Caravaggio, Giovanni Domenico Tiepolo, Wilhelm von Kaulbach and Antoine-Jean Gros (to name a few).
• Is generally beautiful to look at and stroke in tender affection. 

3. The Gods of Olympus, Barbara Graziosi:
“Cruel, oversexed or mad, the gods of Olympus are the most colourful characters of ancient civilisation. They have lived with us for thousands of years, migrating ever further from their native Greece. In Egypt they gave birth to the pharaohs and in Rome led respectable citizens into orgies; they colonised cave temples in China and infiltrated Incan iconography in Peru. Under Christianity and Islam they survived as demons and planets; in the Renaissance they triumphantly emerged as ambassadors of a new, secular belief in humanity; in the modern age, from Nietzsche to Borges and Wole Soyinka to Pier Paolo Pasolini, they continue to haunt human culture. The first account of these protean deities through the millenia, The Gods of Olympus opens a new window on the ancient world and its lasting influence.”
I’m completely intrigued by the idea of essentially all of history’s accounts of deities/godlike figures regarding the same beings. Very interesting, even if you don’t buy into it.

As for magazines, I stick to National Geographic, Entrepreneur or TIME.

Crimson Peak star Tom Hiddleston details the film’s ‘inverted love story’

Tom Hiddleston had come directly from the stage at London’s Donmar Warehouse where he’d been starring in a production ofCoriolanus when he walked into Allderale Hall and found himself overwhelmed by the decaying grandeur of the mansion at the top of Crimson Peak. “I think the first time I walked in there were already leaves falling through the ceiling, and if you stepped on a particular floor board, this red clay would seep and ooze out from underneath,” the actor recalls. “It was like magic, truly.”

It’s a dark kind of magic at work in the new, old-school Gothic romance from visionary Pan’s Labyrinthdirector Guillermo Del Toro, which arrives in theaters Friday. Crimson Peak stars Mia Wasikowska as aspiring novelist Edith Cushing, who, after falling for Hiddleston’s brooding aristocrat Thomas Sharpe, leaves turn-of-the-century New York for the far spookier climes of his ancestral home in the north of England. Before long, Edith encounters ghosts of the past, though it’s the very present tense threat posed by her sister-in-law Lucille (Jessica Chastain) that poses the greatest danger. Wandering the haunted halls of the crumbling manse, Edith increasingly suspects that the siblings are harboring some disturbing secrets that could lead to her own demise.

Although some early reviews have lamented that the film doesn’t conjure quite enough scares, critics have been universally wowed by the elaborate design of the Allerdale Hall, which, in the film, sits atop deposits of remote red clay mines on an otherwise barren field in the North of England. Del Toro took pains to construct the interior of the house in exacting detail in a Toronto soundstage, fashioning a multi-level set, complete with a working elevator, that would anchor the Gothic fantasy with real-world visual detail. (“The house is a rotting representation of the family that has inhabited it — it’s like a cage, a killing jar that you use to kill butterflies,” the director told EW earlier this year. “The house basically is a sinister, sinister trap.”)

For the actors, the ability to perform in such a lavishly decorated space helped inform their performances. “It offers immediate access to Guillermo’s imagination — he’s made manifest something that’s existed in his dreams,” Hiddleston says. “It helps me as an actor sync up with the tone of what he’s thinking about. Thomas Sharpe is so connected to that house, that’s his inheritance in every respect. It’s his physical inheritance, it’s his emotional and psychological inheritance, it is the thing that is weighing him down and stopping him from escaping into his own future and his own autonomy. That was such a key to playing the character — he existed in tension between his past and his future.”

“Guillermo gives all of his actors very, very thorough biographies,” the actor continues. “He includes a personal and closely kept secret that neither the character nor the actor should tell anyone else. Thomas Sharpe’s secret was to leave Allerdale Hall, the sooner the better. As soon as I walked into the place, this crumbling mansion with fear etched into the wallpaper, the word spelled out — FEAR —  it immediately inspires me.”

Hiddleston has built a screen career (and an ardent fan following) in large part playing emotionally cool, potentially dangerous men — from trickster god Loki in Marvel’s Thor films and The Avengers to the vampiric musician Adam in Jim Jarmusch’s 2014 chamber piece, Only Lovers Left Alive. And in that respect, his Crimson Peak role very much feels of a piece with some of the actor’s earlier work, though he came to the film after Sherlock star Benedict Cumberbatch, dropped out of the production: “Thomas Sharpe is dashing and mysterious — I suppose you’re not quite sure about him,” Hiddleston says. “There is an elegant mystery to him in the first half of the film and very quickly you realize there’s more to it.”

The more, as it happens, centers around his unusually close relationship to his sister, a dangerous spirit damaged by a childhood spent in a derelict corner of the world (Lucille, Del Toro said, was modeled after Mrs. Danvers in Hitchcock’s black-and-white thrillerRebecca). “Jessica had a dialect coach, a brilliant woman called Joan Washington,” Hiddleston says. “In our very early discussions of that relationship, Joan was present. Guillermo and Jessica flew to London, and we spent a whole weekend sitting around a table talking. Joan quoted Josephine Hart, and it was the most extraordinary summary phrase for those two: Damaged people are dangerous because they know how to survive. We all burst out laughing. Their relationship is so sad and so tragic, but that’s the emotional engine for Guillermo — the horror can be romantic and the romance can be horrific. For Guillermo, the truth inside the horror is beautiful in its ugliness.”

Hiddleston draws a line of comparison between Crimson Peak and Del Toro’s superb period ghost story, The Devil’s Backbone, which takes place at a boys’ boarding school late in the Spanish Civil War. “Guillermo’s explanation of the supernatural is made very clear in [that film],” Hiddleston says. “He says, ‘What is a ghost? A tragedy condemned to repeat itself time and again, an instant of pain, something dead which seems to be alive.’ I remember it really struck me. There’s a twin line in Crimson, which is Lucille’s, which is, ‘The horror was for love, love makes monsters of us all.’

Crimson Peak, he says, is as much about “the explained supernatural — in which the supernatural intrusions are traced back to previous trauma — but it’s also about love. Everyone wants a kind of love from the other that they can’t return. It’s an interesting inverted love story. I hope people connect to it once the nights draw in and summer is over and there are coats raised against the chill, I hope that it will appeal to that aspect of the imagination.”

The Washington Post talked to Joan Baez about Taylor Swift and joining her onstage last summer
  • The Washington Post: The last picture I saw of you was onstage at a Taylor Swift concert. How did that occur?
  • Joan Baez: I wanted to get tickets for my granddaughter. They were very gracious. It turns out that Taylor is a big fan and appreciator of my music and what I've meant over the years. And when we were given VIP status, she said, "You want to come out onstage in the middle?"
  • TWP: Do you wish younger artists had more socially conscious songs or would use their fame to further causes?
  • JB: Of course I do. The difference is being a risk taker and non-risk-taker. I don't think in (Swift's) situation there's been anything that she would consider having any risk to it. She's a good person. She's good for kids. But that's very limited in what social change we need.